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.
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“And we passed through the country of the blind. And we passed through the slough of the despond. And we passed through the veil of tears. And we came, finally…” ‘I Have No Mouth, and I Must Scream’ by Harlan Ellison  Written by: Ancient Hand
The story of Ethel Cain--the artist, not the titular character of the debut LP Preacher’s Daughter (2022)--is spreading like wildfire. Is it truly necessary to dissect the relationship between Ms. Cain and her rapidly expanding, terminally-online fanbase? I hope not. It feels tired. It feels like a shallow reading of this project’s intentions. It feels like the conversation the artist herself does not want to have. The important footnote to this is that Ethel Cain wants her art, which she puts immense amounts of thought and energy into (just like every other solo music artist), to be taken seriously. With that in mind, let’s discuss her first extended foray into drone and noise music under the name of Ethel Cain. Perverts, which has been dubbed an album by some, an EP by many more, and a release by the artist that created it, is an 89-minute project that explores themes of love, sex, devotion, and self-inflicted punishment. This is immediately evident through the repeated lines on the title track: “Heaven has forsaken the masturbator.” This perverse [haha] and deeply unsettling notion is just one of many swirling through this project’s runtime. With the twisting of the themes of sex and religion into the DNA of this release, Cain has to be saying something big, right? Her intentions in the past have always portrayed a deep understanding of the American South and the cycle of violence inflicted upon women by those they should trust the most, but what is Perverts saying? According to Cain, she is discussing the Pillars of the Simulacrum. In essence, the replacing of what does and should exist with an imitation or false representation of that honest original. These twelve steps are outlined on the aptly titled “Pulldrone,” which paint an image of descending into a depravity beyond compare--through layers of apathy, lust, hate, and annihilation as well as a host of other progressively tormentous and self-fulfilling concepts riddled with emotional horror. The key here is that Ethel Cain is exploring the very idea of creating a false sense of self to present to others--this false self comes in numerous forms, and the greatest danger shared by all is their collective dishonesty. Written by: The Administrator  A music video premiere is a fairly infrequent affair at ye olde Sleeping Village, but not quite infrequent enough to consider "rare." Perhaps "uncommon" would be a better measure. In any case, it's been a while since we ran one of these, and the theater required significant sprucing up before we felt comfortable allowing you fine folks inside. With the cobwebs and dust bunnies banished, then, the show is ready to begin. We'll dim the lights. Make yourself comfortable.
Today's feature presentation comes to us from Dublin, Ireland's Fós. The forthcoming Níl mo chroí in aon rud, out Jan. 27th, demonstrates a haunting blend of traditional Irish folk singing with the sheer droning heft of doom and sludge. It's a fusion that feels as natural as it is engaging, and "Bádaí na Scadán" serves as a perfect showcase of Fós's uniquely eerie and captivating aesthetic. Give "Bádaí na Scadán" a listen (and a watch!) below, and we'll meet you 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. Here's a mini-review of another excellent Fuzznaut track.  Written by: The Administrator When we last checked in on Fuzznaut, we slumbering scribes were reveling and relaxing in the meandering and dusty vibe of September's "Wind Doula." On this latest single, "Earbleeder," guitarist Emilio Rizzo gazes more pointedly towards noisy and hefty distortion. While still as smooth and limber as we have come to expect, this track feels a tad more aggressive, a tad less mellow. As with everything Fuzznaut does, the change is incremental and markedly subtle--there's no massive swing in sound or direction here, but the increased focus on noisy distortion is notable. There's a buzzy texture to the tone that feels a little colder, and the layers that build up to the surprisingly sharp climax feels more menacing. Of course, the title alone suggest a certain violence and/or hostility, but I feel like this is perhaps the least relaxing track to come from the Fuzznaut canon in quite some time. It recalls the atmospheric heft conjured at times by 2022's excellent Apophenia, and given my self-professed appreciation for said album, that's not a bad thing. I've really been enjoying the 2024 Fuzznaut strategy of releasing a new single on a quarterly basis, rather than dropping a full project en masse. The slow drip approach has kept Fuzznaut's music in my ears, and, subsequently, the name on my lips all year long. I'm looking forward to having "Earbleeder" take its rightful place in heavy rotation, and needless to say, I recommend giving it a listen if you're a fan of fuzzy sonic soundscapes. Rather than the typical bandcamp embed, check out the music video for below! Revel in the staticky visuals and enjoy the extensive feline cameo. Fuzznaut - Earbleeder was released Nov. 15th, 2024. Find it here! 
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
In the vested interest of promoting Cool Shit that Fucks™, it is high time, methinks, to bring back a Sleeping Village feature that has been unfairly relegated to the ash heap of history. That's right, dear reader. It's time to reignite On The Horizon. Not a review per se, and not an album announcement, but a third secret thing that lurks awkwardly betwixt the two. The forthcoming project in question? Earthbong's third album, the appropriately entitled Church of Bong, which drops August 25th on some fun formats via Black Farm Records and Evil Noise Recordings--see below for release details. If the name sounds familiar, you may this trio's 2020 album Bong Rites, which we reviewed within these humble halls. 
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
Drone: a severely underappreciated entity 'round these parts. There's something arresting and alluring about the promise of a sustained sound stretching forevermore into the abyss. But, despite the implicit draw, I seldom find myself submerged in the genre. One reliable exception to the trend is the work of Depression Quilt (which, as an aside, is in the running for my favorite band name of all time.) Depression Quilt notably mixes the dronier elements with a dark ambient vibe and flair for atmosphere, resulting in a sonic blend that handily avoids the doldrums of the component parts. It is a conglomerate that provides interesting soundscapes without demanding too much from the listener. 2021's excellent [OVERLAPPING WHISPERS] spent a lot of time in rotation due to a unique ability to calm me down at a point in time when calm was an incredibly scarce resource. Needless to say, I was excited to hear that Depression Quilt was set to release a new album--and on the fantastic Trepanation Recordings, no less. And then when sirshannon asked for a track/music video premiere, I could hardly pass up the opportunity. And so here we are. Check out "The Walking Cure" from the forthcoming [INDISTINCT CLATTER CONTINUES] below! As always, we'll meet ye on the other side. |
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