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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Written by: Blackie Skulless
Seldom will you find me crossing paths with something tagged “melodic death metal” and have so many nice things to say, save for a few very specific bands, but the year of our lord 2023 managed to break this trend. Majesties are a U.S. band based in Minnesota that seemingly came out of nowhere, with no demos, singles, or anything to precede their first and only full-length. Yet, they managed to catch the attention of 20 Buck Spin, which is always a good sign. The lone record’s title is Vast Reaches Unclaimed, and it certainly did reach far to claim some atypical greatness. Wasting no time, Majesties jumps right to the punches, swiftly delivering its ten tracks in less than forty minutes with no unnecessary bells and whistles. The “melodic” descriptor often refers to a guitar tone and not actual melody, but I would argue that such a mold is broken here. Under harsh, borderline blackened shrieks lies a healthy blend of soothing leads and evident emotion, paired with harsh rhythms that don’t come off corny. Much of that is likely due to the noisy gradient, preventing any generic metalcore-isms, with constant trade-offs between tougher leads. 
Written by: Blackie Skulless
The Norwegian extreme metal act Nithe took formation a few years ago, but never saw themselves with label representation until their third outing appearing on Caligari Records, my favorite tape slingers. Their catalog already consists of a demo and an EP, making Funeral Death their third outing. The truth is, I think all three of them could have been labeled either or. The band is rather tough to label other than somewhere within the black and death realm, perhaps with a thrashy attitude. Much of this is due to the fact that the coarse and mean production with such attitude in presentation somewhat dances all over the place, but those very things help keep it together. Consisting of four songs, we start on a blistering note with “Chains Of The Abyss,” loaded with blast beats and harsh shrieks before breaking into a punkier stomp. “Primordial Ooze (Mother Of Woe)” follows up with a thrash driven approach, not only sneaking some clear leads into the main riffage, but even allowing some gang chants in the chorus. It’s rather unorthodox amidst the ugly and unforgiving atmosphere, especially with the tremolos worked in, but I can’t complain (especially with that slow bass bridge connecting everything). 
Written by: Blackie Skulless
It’s been a heavy year for death metal so far, with no shortage in strong contenders for a favorite. We may only be just touching the halfway point of 2025, but Canada’s Grave Infestation is looking like they could take that torch pretty early on. The British Columbian outfit has been around since 2018, crafting a horrendous and loose brand of death metal under a loud atmosphere. The latest release, Carnage Gathers, is no exception, being the one that truly gathered my attention. Redundant as it seems to describe death metal as “loud,” I say this because every role in the makeup has such a mighty presence, rumbling its otherwise tight structures into loosening its fasteners. Rough and rocky rhythms that echo off one another backed by ferocious drum blasts create a cavernous strike that rarely uses it in the doom/death sense, but prefers to stick to breakneck-speeds. If that isn’t enough, the vocals erupt in a howling-meets-growling way that cakes on another layer of atmosphere, rendering a feeling of suffocating in a coal mine. The only time this really lets up is when a screeching guitar lead takes the forefront, feeling like a proverbial cry for help under a relentless avalanche that one can’t escape, due to the wall of sound the thick riffs create with the drumming. 
Written by: Blackie Skulless
For over a decade now, the U.S. filth-slingers Act Of Impalement have been reeking up the honky-tonk streets of Nashville. While teetering on the doom side of the death metal spectrum, they’re seldom known for oozing into that rumbly-bumbly howling in their later efforts, at least to a large extent. This is to remain the case on the newest record to hit the scene. While I found the band to be serviceable before, it was 2025’s Profane Altar that truly sold me on them. Out of the gate, I may go as far as saying that the doomier aspects of the outfit are seldom now, opting for something that swings in chops more aligned with the hardcore camp. But fear not, because this doesn’t come close to falling into the dime-a-dozen pitfall not uncommon in many a Gatecreeper riff. No, this retains the grizzly and gross production, chunky and marshy riffs, with a burning buzz that simply takes a stompier angle in the rhythmic executions. “Sanguine Rites” comes to mind, being a fine example of the doomier influence rearing its ugly head, but the boiling center and explosive closing slams are enough to make Harm’s Way blush. Never mind the fact that the dark narratives and grimy tales in the lyrics bolster this to another step.
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
In my humble opinion, Burner are on the precipice of being the Next Big Thing in heavy music. Their debut album, 2023's It All Returns to Nothing, was an absolute statement in sheer aggression, and almost certainly the hardest album of 2023. As I said in my favorites-of-the-year list, Burner deal in "vicious and pummeling stuff, and tap an endless well of ferocity. Hard as fuck." Burner are back with a new single, and I'm pleased to report that it could very well qualify as their hardest track to date. "City 17," which explicitly discusses the violence and cultural genocide enacted against the Uyghur people under the Chinese Communist Party, embodies a uniquely menacing aura. It's an intense listen. It's very good. Honestly, there's no shortage of words to describe how supremely heavy this track is. Indeed, any descriptor you might find lurking in the shadowy liminal space between death metal and hardcore feels perfectly appropriate, and perhaps even understated. "City 17" is crushing, volatile, ferocious, skull-shattering, unforgiving, blistering, brutal, pugnacious, surly. It stomps and bludgeons. The guitar tone is truly massive, and the vocals hit a perfect emotive balance between bestial and distinguishable. The track does pull back around the two minute mark, and while the break from sonic bombardment should feel like a reprieve, a constant sense of tension pervades. The inevitable climax casts a dark shadow, and when it arrives, it does so with remarkable violence. The mighty breakdown absolutely clobbers. It is the aural equivalent of blunt force trauma. Incredible stuff. Give it a listen below! I also recommend checking out the video here. Please note content warning for depictions of torture. Burner - "City 17" was released March 18, 2025 via Church Road Records.  Written by: The Administrator
When approaching a new track from (the alluringly monikered) The Biscuit Merchant, you can be certain about one thing: the delineations between subgenres are gonna get murky. Where, you may wonder, does death begin and thrash end? How many progressive tendencies can you cram into a track before it becomes clearly identifiable as prog metal? How many vocal stylings can one vocalist muster? Much to consider. The Biscuit Merchant's discography at large--encompassed within a multi-album megaproject that will eventually involve an album for every letter of the alphabet--makes for an intriguing listen. While I must admit that I'm not familiar with the entirely oeuvre, I have been a big fan of what I've heard. The Biscuit Merchant has a knack for balancing engaging groove with the kind of naturally flexible songwriting that allows unexpected inclusions to feel firmly grounded rather than mere gimmicks. I particularly enjoy the vocals, which are quite diverse, ranging from squelchy growls to snarling cleans and back again with an underhyped grace. We're excited to premiere here today a forthcoming single from The Biscuit Merchant's forthcoming new album. The track is called "Victorious." The album is called Tempora, and will be released in May of this year. Give "Victorious" a listen below, and, as always, we'll meet ye on the other side!
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
Welcome back to AMPWALL Roundup, our new column dedicated to shining a little light on music that we slumbering scribes find whilst trawling through the explore page over on Ampwall. That "random tag" search feature has turned up some good stuff over the past week. 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 many virtues of the new platform/marketplace/community. 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. Anyways, let's get to the music! Below are 6 (more!) bands I highly recommend checking out. 
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. |
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