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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: a new single from the one-man act that released one of my favorite albums of 2021.
Written by: The Administrator
Four long years ago, I reviewed Underking's fantastic At Hell's Gate, wherein I offered nothing but sympathy and condolences for those who weren't enthralled with Maxwell Jeffries' penchant for catchy-as-hell songwriting. Said album was one of my favorites of 2021, and I return to it quite often when looking for some nerdy (complimentary) heavy metal excellence. Needless to say, this slumbering scribe has been primed and ready for some fresh music from Underking. Four long years later, Underking is back without missing a step. Indeed, new single "The Isle of Crooked Stone" feels like an unearthed gem from a begone era--it sounds like it could sit comfortably in the midst of the At Hell's Gate tracklist. For the unfamiliar, Underking sits at the feel-good crossroads of heavy metal, power metal, and hard rock. The riffs are engaging, the choruses triumphant, and the vibes immaculate. Thematically, the lyrics tend to focus overtly on a fantastical or sci-fi property, with previous tracks honing in on Star Wars, Lord of the Rings, Avatar: The Last Airbender, and so on. Every track is imbued with a clear love for the material that inspired it. Nothing feels gimmicky. Keeping with the brand, "The Isle of Crooked Stone" is an homage to Critical Role’s second campaign. This track is notably anthemic across the board. It is bright and uplifting. It builds and swells with a certain exultance, with Jeffries' excellent and often powerful vocals feeling as confident as ever. I'm a particular fan of the chorus, which ranks among the most catchy and singalongable in the catalogue. And, as with many Underking tracks, "The Isle of Crooked Stone" is short and sweet, wisely ending before I want it to. As a result, the track leaves in its wake a palpable desire to run it back. I've said it before and I'll say it again: Underking is vastly underrated. I'm a big fan of this track, and am inordinately excited to hear whatever else is forthcoming from the Underking camp. Underking - "Isle of Crooked Stone" was released March 14th, 2025. Find it here, and listen below!
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 Written by: Blackie Skulless
Oh boy, just what we need! Another heavy metal act sharing a name with like ten other bands! Actually, that’s precisely what we need. Switzerland’s Amethyst is pretty new to the game, taking fruition only a couple years ago and giving us a short EP in that time. Earlier in 2024, they dropped their first full-length that took the community by storm pretty quickly. As we wrap up the year, I can say that Throw Down The Gauntlet is definitely worthy of some praise. On the surface, Amethyst packs together the things that I loved about Canada’s Freeways and Norway’s Flight, while adding a layer of metallic boost. In other words, the very foundation of this record pretty much avoids anything overly heavy, trading that angst for melody, soft vocals, and bouncy grooves. Yet, the riff structures themselves could easily be traced to the influences of the ‘70s metal acts, fitting in with cleaner blows not unlike Scorpions or perhaps Rainbow. I know, I basically just described the band’s sound by using derivatives of other bands, which should tell you that it isn’t the most original take on the genre. 
Written by: The Administrator
If you are a purveyor of music review sites, you've undoubtedly learned to skip over the fluff that constitutes AOTY intros. The pointlessness of writing this isn't lost on me, let alone the fact that this is a list for, erm, the wrong year. In the music industry churn, an album released last year might as well be a million years old. Obsolete. Irrelevant. Forgotten. So: why 2023? Why not 2024, like unto a proper music review website? What's the rationale behind publishing this list a whole damn year late? There are two reasons. The first is that I think demonstrable longevity is an important aspect of music appreciation, and the ability of an album to outlast a narrow moment in time is a testament to its particular excellence. The second (and real) reason is that I am a profoundly lazy and frequently overwhelmed person, and compiling this list last December was a very large task that seemed, frankly, insurmountable. So here we are. These are 23 albums from 2023 that are, in significant hindsight, still very much my favorite albums of 2023. In terms of format, this list is alphabetical and purely unranked. The generally arbitrary structure of counting down to #1 simply doesn't demonstrate the way I enjoy music, nor is it an effective or accurate way to make recommendations. I'm also completely unconcerned about genre, as I listen to a lot of different stuff. If I'm writing a list, it should probably reflect the reality of listening habits instead of projecting a false image of metal exclusivity. Be prepared for eclecticism. I hope there's something lurking herein that catches your ear. A massive thank you to every artist who contributed to the releases below. And, dear reader, thank you for your readership and support of artists! You're the best. Yes, you. 
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: The Administrator
Greetings, dear reader! Before you read any further into this review, I implore you to hit play on "A Thousand Swords," the opening track on Legendarium's mighty new album. There's a handy embed located below for your convenience. Let it ride while you read! So. When one opens with a barn-burning riff of this caliber, the listener is inevitably left to wonder: was anything kept in reserve? Was the eternity of this album's guitar power unleashed in one glorious display of incendiary fury? What could possibly follow? In the case of For Eternal Glory, there's quite a few places left to venture. Nominally operating under the elusive "powerdeath" tag, Legendarium has built a unique aesthetic over the years that incorporates a variety of sights and sounds from a diverse palette of genres, ranging from melodic death, to power, to folk, to heavy metal. The primary influence of classic melodeath à la Ensiferum or At The Gates is readily apparent in the hefty riffcraft and the inclusion of gruff harsh vocals. There's a gallop at play, evoking the glory of NWOBHM without ever fully abandoning those death-ier influences. However, while undoubtably a guitar album, For Eternal Glory never feels caged in nor exclusively defined by the dominance of Laurence Kerbov's superb riffcraft. The album's overall aesthetic often leans into the epic atmosphere, fantastical environs, and general positivity championed by many a power metal band. Expansive keys and even a tin whistle inclusion courtesy of Jared Archon grace the album with a certain levity. And all the while, the punky bounce and vocal sneer that dominated earlier efforts permeates, injecting the whole affair with a foot-stomping momentum. 
Written by: Blackie Skulless
Chicago’s Black Sites are a heavy metal act I’ve been eyeing closely since their second album Exile blew me away in 2019. From their inception, they’ve always been a band that leaned towards the progressive metal side of the spectrum, without diving full-force into that realm. Their sound was always a treat that I compared to Queensryche meeting Iced Earth under a unique flair. Considering Untrue felt like a simple continuation of that sound, I was pretty excited to see what the latest The Promised Land? had to offer. Jumping in, that “progressive element” that described an otherwise traditional metal backbone sneaks in just a notch more often. Though the band may not be a stranger to longer, intricate songs, that’s exercised to a jarring degree this time around from time to time. More emphasis is put on the start/stop riff structure that jumps around the fretboard, coating different layers with different techniques ahead of sophisticated drum patterns. Vocally, things still feel right at home, boasting Mark Sugar’s consistent melody paired with clear emotion being ever present. And of course, I must mention that this record sees the band’s first attempt at crossing the ten minute mark in its title track, indicating that things may have more of a single narrative across the board leading to a climax. 
Written by: Blackie Skulless
Over the last couple of years, the North American heavy metal outfit Traveler has made a pretty strong impression in my endless hunger for traditional metal. While their debut was a solid start, it was the second record Termination Shock that fully sold me on the band. Naturally, I was really excited to see that a new one dropped earlier this year. Prequel To Madness admittedly took me a second to grasp onto, but as I’ve revisited over the months, it has grown on me significantly. The easiest explanation would be that prior to this, Traveler simply used a straightforward but hooky formula that was given more of an identity the second time around. For round three, I would argue that they’ve landed entirely on power metal territory, with flavors of the gritter U.S. style and the melodic, clean European style showing at times. This isn’t the first time that emphasis was placed on a heavier push, but man, do they ever unload the proverbial artillery here. Breakneck speeds, pummeling drums, and layers upon layers of guitar and bass combos leave no room for lightweight attacks. Even vocally, while higher falsettos and sharp shrieks aren’t foreign to the band, they move through this with more purpose than before. 
Written by: Blackie Skulless
Cruel Force has touched my radar a few times over the past couple of years. The German black/thrashers dropped two albums nearly fifteen years ago before splitting up, and while they made a serviceable enough take on the genre, it really never stuck to me. Fast-forward to over a decade later, and they came back with a vengeance, dropping Dawn Of The Axe, changing my mind about everything I just said. What was a nice soil that grew few worthwhile fruits now harvests an entire garden. Stylistically, they wouldn’t veer too far away from this initial idea, but any sharp edges get deburred and the thrashy attitude feels refined into something reminiscent of an ‘80 speed metal foundation. Similarly, vocals with a deeper snarl but a far more concise delivery are tacked on, almost feeling similar to Zetro from Exodus. Echoed production helps everything, giving a reverberated tone to the drum kicks pairing wonderfully with the vocals. Meanwhile, the bass licks are rather bouncy, providing extra kick beside the sharp riffing. Oftentimes, overdoing this can ruin a solid record, but that’s not the case here. The end product is a far more mature outing that almost lifts the “blackened” element away as well, leaving only remnants, but still holding onto their aggressive oomph. 
Written by: Blackie Skulless
It’s been a long time since I’ve been so conflicted on how I feel about an album, but after like five listens, I think I’ve got it down, so strap yourselves in. Unto Others are a band I’ve loved since they first broke ground in 2019 under the name “Idle Hands”. Mana was like a one-in-a-million shot of combining traditional metal with goth rock, and it worked well. Strength hinted at a heavier direction for a few songs, being a little awkward at times but overall a great release. And then we get to the latest, Never, Neverland, making me think it’s going to expand on the heavier sound. It kinda does, but it also doesn’t. But also, it tries punk, upbeat vibes, and…. black metal? It’s as weird as it sounds, and as much as I hate to break an album down by track, there’s absolutely no consistency to this outside of the fact that it runs with the melancholic vibes coated with the deep, sonorous vocals. Otherwise, this is a game of take what you like and leave the rest. Right in the opening, “Butterfly” lays a convincing ground of running towards the softer, gothic direction with the occasional heavier lick worked in nicely; I actually very much enjoy this one. Then “Momma Likes The Door Closed” shifts entirely and works like a metal oriented punk rocker that even includes blast beats. Seriously, it’s as if you’ve started listening to another album, before “Angel Of The Night” brings you right back to where you started, finding strength in a soft chorus.  Written by: The Administrator Another killer single from Howdytoons dropped last Friday, and as I surf through their impressive catalog, I wonder whomst among us didn't have a dinosaur era. Did any of us actually escape a period wherein dinosaurs--aesthetically, conceptually, historically--were simply the coolest thing imaginable? For me, this phase peaked in elementary school, and for a solid 4-5 years, I was an expert. I would have been the first to um akshully my current self, explaining that today's titular quetzalcoatlus was not, in fact, a dinosaur, but rather a pterosaur. Big difference. Years later, I'm admittedly less knowledgeable about dinosaurs and their ilk, but that's not to say I won't get hyped when the occasion permits. Which leads us to today's track in question. "Quetzalcoatlus" is the latest single from a band perhaps most well known for their family-friendly music videos on YouTube. Covering evergreen topics like dinosaurs and mythological creatures, and with over a millions subscribers, they are not exactly a small fish in the the large pool of educational media. Certainly a little different than the typical Sleeping Village fare, but I have a perennial appreciation for the sheer quality of their craft. And this latest track is one of their strongest to date, in my opinion. Featuring vocals by Rody Walker of Protest the Hero, as well as drums from Marco Minnemann, there's a lot of talent on display. Discard your misconceptions about about so-called kid's music and take a moment to appreciate how intensely riffy and hard-rockin' "Quetzalcoatlus" actually is. Instrumentally, this thing is notably meaty coming from a band with cartoony cover artwork. The track genuinely rocks--there's an engaging momentum and a refrain that is incredibly hooky. The vocals lend a certain pedigree, particularly as they approach harsh territory at the tail end, but the kinetic songwriting itself sucks you in. And the lyrics are just fun. "Quetzalcoatlus" is intrinsically a song that kids and families can enjoy--indeed, Howdytoons have written a high-quality banger that I look forward to sharing with my nephew next time he breaks out the plastic dinos. However, "Quetzalcoatlus" is also an unironically engaging listen for me. An adult. Unlike so many others in this particular made-for-kids lane, Howdytoons songs don't feel dumbed down. As such, I can and will listen to a track like "Quetzalcoatlus" for the sheer joy of it. They've carved out quite a niche for themselves. No small feat. Check out "Quetzalcoatlus" below! Howdytoons can be found:
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