Written by: Blackie Skulless
The California thrash act Doomsday has been around for a little while, dropping only EPs for the better part of a decade. They reached my radar with the latest release, combining their hints into a full idea that piqued some serious interest immediately. Never Known Peace is the name of this full realization, feeling extremely refreshing. As a huge fan of the genre, it isn’t lost on me how redundant it can be these days, so finding something that breaks that mold is no minor feat. Not to say that Doomsday is overly unique, but everything they do on their debut full-length is not only performed wonderfully but is topped with nasty grit of its own, tapping into several different frequencies. With a very heavy hardcore influence, this record takes the crossover path while avoiding the “party” aesthetic that has a short shelf-life, trading it for a more serious tone that injects immense levels of attitude. Harsher vocals boosted by a mean snarl pair wonderfully with both the most basic aspects and the more intricate ones. Strong solos are not skipped for simplicity, the basslines further enhance the explosive nature of the riffs, and dramatic jumps in pace feel organic on every track.
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Written by: Blackie Skulless
Ohio’s Vindicator have been around the block a few times since their formation in the mid-2000s, staying relatively consistent in releases. As they approach the beginning of their third decade of existence, 2025 saw the return of frontman Marshall Law, allowing former replacement Vic Stown to return to full-focus on the axe. It’s been four years since the last full-length and fifteen since this vocal-guitar duo, leaving plenty of room for anticipation. The outcome would be the fresh and refined Whispers Of Death, seemingly reflecting the earlier days under a tighter complexion. With a tighter complexion comes a cleaner approach and slightly more elaborate songwriting, neither of which dip into technical wankery or overly shiny surfaces. Despite these changes, I’d argue that Vindicator has crafted even heavier cladding, with vocal approaches feeling harsher and rhythms raking in thicker trembles. “Charnel Pastures” is the obvious example, dropping a payload of blast beats and aggressive artillery on the guitar, while the shorter “Exhaustion” deals this deck emphasizing breakneck speeds and fret-happy solos. We also get a taste of that in “Ripper Attack” near the end, pairing well with a bouncy chorus. Such approaches could potentially appeal to the death metal crowd, especially with the growling snarl in the vocals.  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!
The Sleeping Village has been around for a few years now, and during that time, a lot of reviews have unceremoniously disappeared into the dark confines of our archives, destined to never see the light of the front page again. Music appreciation, however, is a timeless affair, and in that spirit, here is a review retrieved from the deep dark depths.
Written by: The Administrator (originally published June 15th, 2019)
Given the convoluted intros that have become a bit of a calling card ‘round these parts, we wizened scribes find ourselves in a bit of a situation here. Here's the rub: Entrenched is an outfit about which I know astonishingly little. No niceties regarding city of origin, or band members, or associated acts. In this sense, unless you’ve seen the gloriously indicative album artwork for their sophomore effort Endless Occupation, the music really must speak for itself. And to be honest, it doesn't speak so much as roar vivaciously. Entrenched play, for all intents and purposes, a speed and thrash-oriented brand of death a la Demolition Hammer or Morbid Saint. They wear the visceral war-torn trappings of Sodom--take the track titles, which range from the obvious ("Meatshield") to the goofy ("Goreamedic") to the exclamatory ("Terrorize the Insurgency")--and conduct themselves with the juggernaut bombast of Malevolent Rapture-era Legion of the Damned. Imagine if Merciless lost their more overtly frantic edges, and gained instead a Vader-esque sense of (moderate) composure. But yet, these comparisons are imperfect, and despite existing in a fairly well-occupied space, Entrenched are seemingly their own bloody beast, taking the bits that work, but never feeling derivative to a consequential degree. Needless to say, if you want thrashy riffs and endless bullet-belted aggression, Endless Occupation will scratch that itch with...well, take your pick of rusty implement. Rake. Machete. Lawnmower. 
Written by: The Administrator
We slumbering scribes are nothing if not considerate. In that spirit, here's a relevant public service announcement: if you choose to fire up Terror Labyrinthian, the debut album from Baltimore's Nuclear Tomb, please know that you are willingly subjecting yourself to an undiluted sonic onslaught. Real face-melting stuff. Prodding and squirmy and barbed and apocalyptic and absolutely ripping. Representing a particularly weird and wild variant of death-oriented thrash, Nuclear Tomb have perfected a brand of chaos that appears, at first blush, quite unhinged. In reality, their approach is as calculated as it is contorted. In a case of promo material feeling exceptionally accurate, Nuclear Tomb do indeed skillfully integrate an old-school blistering aggression à la Sadus alongside a more punky off-kilter Voivodian approach to dynamics. That's a win/win combination in my book.
Every Friday, a wagon arrives at the Sleeping Village’s crumbling gates, stuffed to the brim with our sustenance for the following week. Today is the day we must offload all this new music, and so, in the process, we thought it would be worthwhile to share some of our choice picks from this veritable mass of fresh meat. This is what we’ll be--and have been--listening to today here at the Village HQ. We hope you join us in doing so!
On the docket for today, June 10th, 2022: Yatra, Dust Prophet, Adamantis, and Pillärs
Written by: Blackie Skulless
What an incredible time for some Ukrainian death/thrash centered on horrors of war. Taking formation only a couple of years ago, Mortal Vision managed to get their debut full-length out late last year, hitting my radar at the beginning of this year. Though there’s no shortage of this style, it’s always nice when it can be pulled off so wonderfully. Mind Manipulation does just that. Immediately, the Sepultura-meets-Morbid Angel vibes are going to set in, and they never really go away for the full run. Under a slightly clearer umbrella, Mind Manipulation boasts riffs far more on the thrash side, caking on some grooves to break up an approach that’s pretty one-sided. Naturally, the speeds never really slow down other than to swing in these more memorable bridges and to give way to the solos. Things like the bouncy rhythms on “Condemned To Death” or the ascending sweeps meeting harder drum clashes with “Apophenia” add plenty of life. 
Written by: The Administrator
The first track on Abyssus' stellar Death Revival is entitled "Metal of Death," and if that alone doesn't tell you what to expect in the following 33 minutes, we should probably just pack it up and head home. No gimmick necessary: this is fun death metal that thrives in an environment where the genre's intrinsic over-the-top absurdity and bombastic flair is celebrated. It's an admirable dedication, and after digging myself out of a recent glut of gross death metal that reveled in putridity, some crisply high-octane fare serves as an excellent palate cleanser. Nothing here is drenched in gore or ensconced in the increasingly prevalent "cavernous" aesthetic. Rather, everything here is aggressive, and boisterous, and coated in a slick sheen of late 80's nostalgia. If you like that furious romping energy of Consuming Impulse-era Pestilence, or Beyond The Gates-era Possessed, or Cause of Death-era Obituary, or Spiritual Healing-era Death, you're most certainly in capable hands. Long live the ugly mutation of thrash into death. The golden age lives on. |
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