Every Friday, a wagon arrives at the Sleeping Village’s crumbling gates, stuffed to the brim with our sustenance. 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!
This Friday, Bandcamp is holding their third annual Juneteenth fundraiser, where they donate 100% of their cut of sales to the NAACP Legal Defense Fund. Win/win!
On the docket for today, June 17th, 2022:
Void Witch, Trocar, Valley of the Sun, and Inexorum
Written by: The Administrator
Sonic qualities aside, Titanosaur is not a moniker that conjures notions of elegance. The name imparts a certain sense of inevitable weight and destructive force. This we know. The hefty behemoth leaves footprints the size of small craters, and crushes cars in its maw like unto a nutcracker chowing down on a walnut. The music, then, must match the aesthetics of the beast. Rest assured, this one-man hard rock/metal outfit out of Hudson, NY, does just that.
Drawing from the venerable likes of Monster Magnet, Red Fang, Motorhead, and Black Sabbath's more overtly rock oriented work, Titanosaur delivers crunchy riffs and gruff hooks with a no-nonsense air and a hard-edged bite. Back in February of this year,I briefly reviewed Titanosaur's excellent Absence of Universe, stating that, besides demonstrating the band's best work to date, the album illustrated a unique "wry self awareness, notably pounding riffage, and thick application of late cretaceous groove."
Off the back of that release, we've got some new tunes incoming. I love a band on a roll, and Titanosaur is currently cruising. But enough rambling! We're pleased to present here today "Eater of Death" and its accompanying B-Side "The Time is Now." Hit play on the ol' embed below, sit back, and enjoy! As always, we'll be there to meet ye on the other side.
Written by: Blackie Skulless
The infamous band that manages to pull a slew of opinions every three or so years has come back to continue their evolution. Every Ghost record seems to follow a bit of a theme, or at least weave itself together with a vibe that separates itself from the prior, but stays consistent standing alone. Ahead of releasing Impera, we were given several tracks that sound pretty different, which was an accurate depiction of what was to come. While the mixing of ballads and heavy hitters always went together smoothly, that somewhat changes here.
Despite no signs of ditching the catchy or upbeat chorus’s and memorable radio tunage, Ghost took their biggest step towards more progressive writing. That’s not to say you should expect a Dream Theater record, but there are extra theatrics, extra shifts in tonal delivery, and all sorts of fun instrumentation that gives some serious Styx vibes gone dark. Unfortunately, this causes an awkward flow, and a little bit of placement that feels off at times. For the most part, I can overlook that, save for a few moments of going too long, or the unnecessary use of several “interludes.”
On (occasional) Fridays, a wagon arrives at the Sleeping Village’s crumbling gates, stuffed to the brim with our sustenance. Today is the day we must offload all this week's new and noteworthy 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 listening to today at the Village HQ. We hope you join us in doing so!
On the docket for today, Feb. 4th, 2022: Golgothan, Titanosaur, Iōhannēs, and Krystal Swords
This year, in an attempt to cover more music that would all-too-oft slip through the very large cracks, we're trying something new and novel around these parts. Namely, we're gonna actually publish the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. In that spirit, here's a mini-review of a very metal-y single I've been spinning all day. Dig in!
Written by: The Administrator
It's a Friday evening here at the Sleeping Village, which means that this particular scribe is ready to cut loose with some loud music, an irresponsibly massive pile of cheap pizza, and some beer(s). Whether or not the night pans out in that exact fashion is yet to be determined, but at least I have the soundtrack sorted. Time, methinks, for some capital-M Metül.
On their latest thrash/hard rock/speed metal single, fresh off the press today, TANTIVY delivers no-nonsense abrasivity and enough leather-and-bullet-belted swagger to adequately satisfy any acolyte of the gritty Motörhead ethos and aesthetic. Built on the back of rolling drums and galloping riffs, "Worthy Foe" is a track that is invested in its own forward momentum. It's a rhythmic and boot-stomping affair, with a sense of urgency permeating the whole. The vocals, which notably feel like they were tied to the back of a truck and dragged through the gravel for a good long while, lend the track an intrinsic gruffness and toughness.
Despite the deliberate rough-n-tumble approach, "Worthy Foe" feels like a refinement on the template they established on 2021's Eyes if the Night, and points in a very promising direction for anyone invested in hard rockin' heavy metal. It's a single that practically demands a larger project to call home. I'm excited to hear what this crew cooks up next.
Written by: The Administrator
On this fine Sabbath Sunday, we inksplattered inhabitants of the Sleeping Village have been dipping our toes in the dangerous and troubled waters of 80’s era Black Sabbath. As one does.
In the grand scheme, the general sentiment is that if it ain't Ozzy or Dio, it ain't Sabbath. While I personally tend to find the albums featuring said vocalists the most appealing, we are talking about Iommi, the Rifflord Most High, and as such, there are certainly some diamonds in the rough. Case in point: 1983's Born Again--perhaps the most maligned of the black sabbathian sheep.
Is it fair to say I'm disappointed that Born Again was Ian Gillian's only foray with the boys from Birmingham? My rational is that this one-off album, despite repeatedly getting the short end of the stick--often deservedly so-- demonstrates a whole lot of unactualized promise.
We provide thoughtful reviews of music that wakes us from slumber. Written by a highfalutin peasantry.