Written by: Blackie Skulless
Seldom will you find me crossing paths with something tagged “melodic death metal” and have so many nice things to say, save for a few very specific bands, but the year of our lord 2023 managed to break this trend. Majesties are a U.S. band based in Minnesota that seemingly came out of nowhere, with no demos, singles, or anything to precede their first and only full-length. Yet, they managed to catch the attention of 20 Buck Spin, which is always a good sign. The lone record’s title is Vast Reaches Unclaimed, and it certainly did reach far to claim some atypical greatness. Wasting no time, Majesties jumps right to the punches, swiftly delivering its ten tracks in less than forty minutes with no unnecessary bells and whistles. The “melodic” descriptor often refers to a guitar tone and not actual melody, but I would argue that such a mold is broken here. Under harsh, borderline blackened shrieks lies a healthy blend of soothing leads and evident emotion, paired with harsh rhythms that don’t come off corny. Much of that is likely due to the noisy gradient, preventing any generic metalcore-isms, with constant trade-offs between tougher leads.
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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: The Administrator
If you're the type to lurk around the metal underground, you've likely heard of Ampwall, a new music platform/marketplace/community founded by Chris Grigg of Woe. Ampwall is a public benefit company explicitly designed by artists for artists, and their clear commitment to empowering independent bands is both rare and admirable in a world of music platforms that prioritize profit time and time again. Since joining when the beta launched a few weeks back, I've seen a variety of artist suggestions taken seriously and changes administered in real time. The community they've built over on Discord is friendly and robust, full of people who are clearly in this for the love of the music. The financial upsides are also immediately apparent: they operate on a very low-cost subscription model if you plan to upload music, and sellers make more per transaction. There's even an option for buyers to cover the transactions fees, a feature that feels so common sense I'm shocked it isn't industry standard. The pages are true showcases with an emphasis on aesthetic, and contain a very handy Press section where artists can link to reviews. The features are numerous and honestly make every other platform feel...remarkably antiquated. You can tell that this was built by musicians who understand what DIY tools are actually useful. Long story short: Ampwall is an alternative that deserves full attention, especially in an era of enshittification where even platforms like Bandcamp are bought and sold by corporations with zero regard for the artists who bring the value. You can read more about Ampwall over on their mission page, and you can sign up for beta access (as a fan or an artist!)here. And! In an attempt to shine a little light, we slumbering scribes are hereby instituting a new column wherein we trawl Ampwall for cool music and, y'know, write about it. Below are 6 bands I highly recommend checking out. Let's get this started, shall we? 
Written by: Blackie Skulless
As I’ve noted when discussing the band’s previous output, New York’s Undeath are an outfit that have been with me since their earliest demo in 2019. Over time, they would grow into quite a significant spectacle in the scene, dropping another demo and two full-length records since. The quintet has always emphasized the brutal and unforgiving sides of the death metal genre, made extra filthy early on, and cleaned up the surface slightly with each subsequent release. The latest outing More Insane continues this trend, making the most significant jump between albums in that regard. Since Lesions Of A Different Kind, Undeath have made it known that they also prefer a slightly more intricate variation under those grueling and marshy riffswamps. This has always helped the band stand out, and with a newer production style, we get a higher emphasis on unorthodox leads. In fact, I would say that More Insane now lets the band reach “technical” death metal territory, as even the rhythms focus heavier on this approach. From time to time, the burning hot riffage will pair with, and even trade-off with the bass guitar, allowing both to take the forefront, which is highlighted nicely on the title track. Frontman Alexander Jones also tampers with vastly different vocal approaches. We still get a healthy serving of the deeper gutturals that the band are known for, but this time around an experiment with higher shrieks and throatier lows is extremely present. I would even argue that they take precedence over what we’re familiar with, fitting the vibe of the technical songwriting and cleaner atmosphere. 
Written by: The Administrator
Whomst among us is ambivalent about the ocean? I may be way off the mark, but it seems as though opinions towards the deep blue sea trend towards the extremes. Representing a certain landlubbery perspective, several of my fellow inksplattered scribes experience an abject terror when it comes to the ocean's vastness. As for me, I'm smitten by the serene chaos of breakers, the lushness and oddity of aquatic life, and the eventual call of the sodden void. Representing perhaps the pinnacle of oceanic fandom, Into The Deep demonstrates a deep fascination and reverence for the ocean. This is a fact that is immediately apparent--everything from their moniker to their artwork to their track titles and band bio and beyond reeks of brine. I absolutely love a band with a singular focus, and when they play music this good, I can't help but sing their praises. Blackfin came out Jan. 3rd, and I haven't stopped listening yet. It is my favorite EP of 2024 thusfar. 
Written by: The Administrator
Yes. I can confirm that the rumors are true. We inksplattered inhabitants of the Sleeping Village's drafty scriptorium are, indeed, a bunch of big nerds. If a band backs their conceptual premise and presence with a lil' academic garnish, my interest is piqued. Enter Sublation. Great music aside, this Philly duo--who are responsible for 2022's outstanding The Path to Beldam--has the distinction of making death metal that feels clever. While many bands that choose to explain the thematic undercurrents of their work often feel like they are overcompensating, the ideas that inform Sublation's work are truly thought-provoking. Beyond that, the conceptual structure feels integrated and essential to the music itself. It doesn't get much better than that. If you are one of the (glorious, godlike, exceptionally well-read) few who checked out my list o' favorite 2023 EPs, you're likely already aware of my overall thoughts on the appropriately entitled On The Advancement of Decay. In interest of leveling the playing field, here's my conclusion in advance: I really like this project. It is clever, it is unique, it presents a cohesive voice. The individual songs are highly enjoyable on their own merits. The lyrics are some of the best in the business. Above all, this release is immaculately crafted--it is more than apparent how much care went into the final product. |
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