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, here's the latest from the prolific Ourobonic Plague.

Written by: The Administrator

The oeuvre of Ourobonic Plague is extensive and intimidating. While I have casually listened to (and enjoyed!) the project's two EPs released thusfar this year, I feel like I've only scratched the surface of the bandcamp back catalog, let alone the assorted supporting written documentation, videos and visuals, and so on. There is undeniably a lot going on, and we haven't yet even touched on the quality of the music itself. Needless to say, the Ourobonic Plague rabbit hole lurks enticingly. As someone who enjoys a deep dive, I find a certain excitement in that notion.

In any case, today's track in question, "Blunderbuss," serves as the first single from the third EP in Ourobonic Plague's continuing G.A. series, which I believe will be released May 30th. "Blunderbuss" is described as a "a frantic scattershot hyper-garage meltdown," and is mesmerizing and jarring in equal measure. Long-form drone elements are absent--this is much more immediate. The track perpetually emphasizes its presence rather than fading into the background. While the stuttering and lurching percussion is forward, the focus soon shifts to a muffled klaxon that fondly reminds me of the echoing alarms in Half-Life 2--which, to be fair, many things fondly remind me of Half-Life 2. In any case, said klaxon evokes a sense of distant albeit omnipresent danger, surveillance, anxiety. Once all the elements are in play, it is quite immersive.

On the surface, "Blunderbuss" feels like it should be danceable, but the restless lurching momentum is a bit of a tease. The track is watery yet skittery, and seems deliberately designed to keep the listener on edge. It doesn't feel entirely truthful to say that I enjoy the anxiety per se, but I do really like this track.

Give "Blunderbuss" a listen via the Ampwall embed below! After you're done with that, I wholeheartedly recommend working your way backward through the Ourobonic Plague discography at large. I'll be doing that myself in short order.

Ourobonic Plague's assorted links can be found here.

Written by: The Administrator

When presented with a new release from British Columbia's MEGAFAUNA, there are few guarantees. Sonically, thematically, emotionally, a whole lot is variable by design. A true sense of experimentation permeates the project, and beyond aesthetic clues surrounding the visuals, you're never entirely sure what you're going to get. However! If there is one unifying factor of every MEGAFAUNA release, it is the immutable and established fact that I love them all very much. There's a standard of high quality maintained across the discography, whether it lurks within the dread and anxiety of Venator, or the layered and dynamic I Owe This Land a Body, or the haunted funhouse dance party vibe of the "Ghoulish Haunt" single, or the slowburningly ominous Nosferatu soundtrack. I could go on. In any case, I walk away from a listening session feeling like the music has made made a genuine impact on an emotional level.

In short, MEGAFAUNA has been doing intriguing things since inception, and I have very much enjoyed the project's eclectic output. And, needless to say, I'm always ready and excited to check out new stuff from the MEGAFAUNA camp when the opportunity arises.

​This heavily redacted latest EP, the four track cnʁʁԍuϝ λԍɑʁ ɑʁმnwԍuϝ, will be officially released tomorrow, April 20th. We're pleased to premiere it here a day early for your listening pleasure and/or discomfort. Give it a listen below, and, as always, we'll meet you on the other side! 

Written by: The Administrator 

If MEGAFAUNA doesn't represent the perfect antithesis of easy listening, I shudder to think what else could have possibly earned that designation. Indeed, in my review of MEGAFAUNA's unsettling and engrossing Venator, released back in April of 2024, I wrote that the project is "not a light nor carefree listen." I also called it "unabashedly weird and intense" and referenced both an "uncomfortable urgency" and a tendency to nail a sense of "terrible disassociation that paradoxically makes you hyperaware of your physicality." In short, I liked Venator very much, and found MEGAFAUNA's articulation of anxiety, fear, paranoia, and depression to be quite poignant.

I Owe This Land a Body similarly presents an intense soundscape, leaning into a lonely and foreboding eeriness. This is, after all, an album explicitly exploring the notion that "how dying is the last decent thing we can do." A sense of profound despair implicitly and intentionally seeps forth from the Megafauna corpus, and this latest isn't exactly a cheery listen. With that said, I Owe This Land a Body is less immediately jarring than Venator, and even manages to undercut its own sense of unease with some unexpected bright spots.

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

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

​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. 

Written by: The Administrator 

The promo email for NODINE's Amateur Land was unexpected but far from unwelcome. The artist behind black metal outfit Ainor switched gears and now makes rap/trap/experimental hip hop under a new moniker, released via Syrup Moose Records? In the world of artistic development, that's an exciting switchup. My interest? Considerably piqued.

While the genre tags may imply a shiny polish, this isn't clean stuff from a production standpoint--it feels like the rap equivalent of a classically homegrown bedroom black metal project. That, my friends, is by no means a bad thing. Amateur Land feels homegrown in the best sense, providing an eclectic spread that feels tangible and human and raw. There's some trap, some borderline rage-fueled horrorcore, some minimalistic boom bap, and requisite let-me-get-a-braggadocious-one-in-real-quick freestyles. Every track brings something new to the formula, giving the whole affair a very exploratory feel, almost like NODINE is attempting to map complex terrain via the light of glowstick. In a world where artists are all-too-oft trapped in a trademark aesthetic, I find significant value in a deliberately eclectic collection of sights and sounds. It can make for a jarring listening experience, but consider: being jarred is good.

Written by: The Administrator

Those of you with frighteningly impeccable memory may remember another mini-review from a while back discussing Cartoon Head's first foray into self-described "doom ska." I really enjoyed "Wrong!" in all of its oddity, and have anxiously awaited another Cartoon Head release in a similar vein. What we got wasn't a duplicate of those gloriously strange sights and sounds, but the result is wholly intriguing and chaotic nonetheless. In the band's own words: "It's a cover of a Ghost song and we fucked it right up for you."

"Square Hammer" is a classic unto itself, and a straight cover simply wouldn't work. Enter Cartoon Head's off-kilter approach. There's a poppy yet carnivalesque sense of panic and glee that drapes over the whole (very brief) affair. That instantly recognizable riff has been given the fun house treatment, drenched in a glitzy sleaze. The verses are sped up to a borderline comical degree, the vocals are just a little maniacal, and the noise-afflicted chorus feels like it has been dragged through the sewer. The track also just ends midway with the kind of abruptness that makes you wonder if you accidentally hit pause. There is no leadout, no reflection. It's a genuinely funny choice, and one that fits Cartoon Head pattern of operating outside expectation.
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The whole track feels less like an homage to Ghost and more like a medieval satire, a jester clowning with a crude effigy of a king. And if all this sounds like a negative, please know that I absolutely adore the Cartoon Head approach to absurdity. This track is an exciting exercise in pulling the rug out from under the listener, and that is a rare trait indeed. Given the implicit good humor and self-awareness that Ghost have utilized over their run, this feels like a very appropriate way to cover their music. If you want a faithful rendition of "Square Hammer," this ain't it. If you like weird music, check it out below.

Cartoon Head - Square Hammer was released May 5th, 2023 via Hvng Man Records. Find it here!

Cartoon Head can be found:
Bandcamp
Twitter

Written by: The Administrator

Do you enjoy jarring music? If so, yer in luck: Hymn, today's band/self-reported "aging idiots" in question, are the absolute living embodiment. This release is a clanging and boisterous romp, a chaotic and jolting free fall through a gallery of outwardly weird punk, acidic skramz, and a homegrown variety of post-hardcore that perches on the experimental edge.

Over a seven track stretch, Hymn demonstrate an eclectic menace and intensity, presented in a lo-fi rough-n-ready form that feels designed for the frantic mess of a cramped live environment. I’m reminded fondly of drunken and impromptu 3AM noise rock shows that plagued my college years. Very few things have managed to capture that particular brand of sonic, social, and emotion disorientation.