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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, here's some thoughts on the latest two singles from the exceptionally prolific Ourobonic Plague.
Written by: The Administrator
Those of you with frighteningly acute memories may recall a mini-review we wrote back in July of 2025 for "Blunderbuss," a jarring-yet-mesmerizing track that combined muffled klaxons with a stuttering drive. This was but one of 40(!) tracks Ourobonic Plague released last year, and the Green Annex train doesn't seem to be slowing down quite yet. The forthcoming EP G.A.: Four: Consecration will see release on February 5th, and the two singles before us--"Machine-kun" and "23 Gems"--serve as highly listenable harbingers. "Machine-kun" (released Dec. 15th of last year) is a garage-esque banger with a potent injection of the industrial presence and general weird energy we've come to expect from the established Ourobonic Plague aesthetic. I wouldn't call it future garage by any stretch, from what I understand of the genre conventions, but it certainly qualifies as futuristic garage. If, y'know, such a thing exists. In any case, this track is driven by the erratic and energized heartbeat of the skittering two-step. There's an obvious mechanical edge that permeates, but alongside the more overt danceable elements, there's a menacing squirm that becomes increasingly prominent on the back half, thrumming and breathing like some cosmic or otherwise alien entity. Unsettling and also dancey is a rare but powerful combo, and Ourobonic Plague nails it here. "23 Gems" (released Jan. 7th ) makes me wish, in hindsight, that I didn't already us the term "banger" above. While fitting a similar vibe, this track cranks up the tempo a tad, leaning into a clamorous grimy rattle. There's an aggression here displayed both in the intense rhythm and the writhing and punchy synths, which promo accurately describes as ''dueling." They are at the very least engaged in heated conversation, with retorts and flying rebuttals adding a greater sense of urgency to the already urgent beat. I really enjoy the energy on this one. It feels irresistible, and I'm excited to see how that energy plays out across the remainder of the EP. Give "Machine-kun" and "23 Gems" a listen below, check out their respective visualizers over on the Ourobonic Plague youtube, and consider pre-ordering G.A.: Four: Consecrated here!
Ourobonic Plague's assorted links can be found here.
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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 music. Without further ado: a cool single.
Written by: The Administrator
And now for something completely different! On occasion, a project hits the ol' promo inbox that sits well outside the typical listening habits of we slumbering scribes. But! Over the years, we've made a deliberate attempt to whittle down expectations of gene convention here at the Sleeping Village. A good song is a good song, after all, and we're in the business of good songs. "Beating Heart," the latest dreamy psychedelic-pop single from singer, songwriter, multi-instrumentalist, and producer Casey Wells, is a certified good song. Having listened to it no fewer than perhaps 10 times in a row, I feel somewhat qualified to talk it up. Promo materials mentions Channels-era Tame Impala as a point of comparison, which is a reference point that feels oft-cited but not always accurate. Here, though, I see the vision, both sonically and emotionally. "Beating Heart" is similarly airy and pseudo-carefree, with a subtle underpinning melancholy. It puts on airs of nonchalance, but at the root of the matter, it is in fact quite, uh, chalant. Heartfelt. Emotionally charged. In the words of the artist, it is a track about "having to pull yourself away from seeking closure. It’s the timeless battle between the head and the heart, except it’s to the point where the head is having an intervention with the heart." Not exactly a topic that one might consider "light." Emotional heft swallowed by gentle cloud-floating instrumentation frequently makes for interesting juxtaposition, and here, Casey Wells presents a delicate and ethereal balance. The synths are rich and crisp and delightfully textured. The vocals are breezy, and when they drop out briefly in the track's midsection, some barely discernible muttering in the background adds a layer of intrigue. "Beating Heart" is a short listen, concise and fluff-free. It is polished and clean--arguably pristine, even. It's a vibe-y song, and while I do wish it was long enough to facilitate a lengthier vibe session, it leaves a tantalizing impression. Casey Wells - “Beating Heart" was released Jan. 15th, 2026 via Vaguely Vivid Records. Listen to it here!
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(er) reviews at a greater frequency, thereby shining our very small spotlight on more cool music. Without further ado, here's a new track with some thick riffage.
Written by: The Administrator
Based solely on their moniker, what genre would you ascribe to Austria's own TarLung? Let me give you three guesses. No, wait--that's far too generous. One guess is almost certainly enough. This is very clearly a band that revels in the simple pleasures: massive doom riffs, beast-like sludge roars, and the crushing embrace of fuzz. TarLung recently signed to the venerable Argonauta Records, and to A. celebrate said signing, and B. incite a little excitement for the forthcoming Axis Mundi, they've dropped a stellar single. "Static Noise" leans heavily into heft, with an emphasis on engaging riffage and a generally oppressive presence. The track bursts out of the gate with a rousing start-stop riff that establishes itself firmly and remains an anchor throughout the track's runtime. Philipp Seiler's vocals, when they eventually kick in, are as sludgy and swampy as you might imagine--he sounds like a amphibious beast recently risen from the mire, coated in algae and hacking mud from his gills. I'm a sucker for this kind of delivery: nasty and utterly Brobdingnagian. If you are familiar with TarLung's work on 2021's excellent "Architect," I'm pleased to report that they have upped the ante in terms of intensity. And while many a promo promises that an album is the band's "heaviest to date," I'm pretty sure that's a truthful assessment in this particular case. "Static Noise" is verifiably heavy as hell. It feels massive and looming and borderline gargantuan, and that's all I've got to say about that. "Static Noise" serves as a harbinger of TarLung's Axis Mundi, which sees release via Argonauta Records on Jan. 30th, 2026. Give heed, etc. etc. 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(er) reviews at a greater frequency, thereby shining our very small spotlight on more cool music. Without further ado:  Written by: The Administrator I've spent significant time over the past few weeks spelunking through the doomy and deathy depths of the promo pit, and thus find myself craving a sonic experience that will wash away the filth. Enter "junebug," the latest track from Istanbul's own nazire. Serving as the second single from the forthcoming glitchfolk, "junebug" is a spaced-out and comfortably gaze-y affair, relaxing hazily somewhere in the confines of an artificial cloudbank. nazire is operating here in the ill-defined realm of indie bedroom trip-hop meets lo-fi shoegaze, and the resulting sound is glitchy and dusty and floaty and fresh. "junebug" initially sets the stage with some delightfully digital trip-hop. The percussion feels friable, and there's an overall texture here that I really enjoy. It's like the sonic equivalent of a particle effect that causes a perceptible framerate drop as you walk past. The eventual vocals are untethered and borderline ethereal, contributing significantly to the track's overall blissful feel. At the midpoint, however, the track lifts off into shoegaze atmospherics. I love the sudden increase in volume--it truly feels...voluminous? In any case, the build is incredibly pleasant; the space is swelling and full. As the end of the track bleeds into increasingly warm and blissful heights, the predominate feeling is one of intense satisfaction. Not a bad place to leave off! Given how much I enjoy both this track and the prior single "toybox," I'm quite excited to give the full album a listen upon its eventual release. Until then: "junebug" on repeat! Nazire - "junebug" was released Nov. 4th, 2025 via Ortaçağ  Written by: The Administrator Yes, I know I don't formally rank my favorite albums of the year, but Let God Sort Em Out is indisputably #1. And yes, I know I don't rate albums, but after much consideration I am considering it a perfect 10. I have no complaints, no unsolicited notes. I am consumed by a radiant admiration for the impeccable execution of the craft. There are zero skippable tracks. Pretty sure skipping is cosmically impossible, in fact. If I get the urge to listen to any track in particular, you know I'm starting at the top and letting the whole damn thing play out. From the emotional "The Birds Don't Sing," to the intimidating swagger of "Ace Trumpets," to the narrative-driven snarling coke rap teamup with Stove God Cooks on (song of the year?) "F.I.C.O.," the Brothers Thornton deliver on literal decades of wordcraft and worldbuilding experience. Pusha T nails a level of intention-setting intensity that has become a bit of a trademark over the years, and Malice's similarly trademark second verses absolutely level the playing field with masterful wordplay and punchy rhyme schemes. He is an absolute force of nature as a lyricist, and his delivery is as pugilistic as they come. Pusha T has always been antagonistic, but at times Malice's tone practically drips with vitriol. Have you ever heard someone say "penne a la vodka" with such force? They both operate with an extremely admirable precision and care, with every single word feeling essential in the greater construct of the whole. They are masters of impact. And that's not even mentioning the glorious pantheon of Kendrick Lamar, Tyler, the Creator, Ab Liva, and Nas guest verses. While Kendrick has received much recognition, Tyler's verse on "P.O.V." is a standout for me--the way he delivers "I need God to play the lead in my biopic" is so unreasonably hard that, upon first listen, I needed to pause the track to refill my lungs. And then Malice drops in like a tungsten rod from God to absolutely demolish the third verse. And lest he be forgot, it's excellent to see Pharrell at the reins of production once more. I swear he's saved his best beats for years, saving 'em and breaking 'em out for the perfect occasion. His drums are striking and vivacious; his sample game succeeds enormously creating dramatic and attention-grabbing moments. I love, for example, the repeated integration of "cuz it's hot!" on "M.T.B.T.T.F." And if you haven't yet had the pleasure of hearing the masterful utilization of Tahal Maddah's "Maza Akoulo" on "So Be It," I highly recommend giving it a listen below. The cohesion Pharell's production imparts upon the tracklist is essential. I mean, I'm still in awe. Let God Sort Em Out is God-tier. What an incredible comeback project on all counts. I wish I had the time to devote a full review to this release. From the extensive backstory to the sheer influence it inevitably carries into the future, it deserves a dissertation. Clipse - Let God Sort Em Out was released July 11th, 2025 via ROC Nation Distribution. Clipse can be found here
Written by: The Administrator
Wait, what's this? Catchy-as-fuck early 00's melodic alt/nu-metal nostalgia...released by the venerable 20 Buck Spin? On the basis of genre alone, I still think this is a weird addition to the roster, but on the basis of quality, Bleed's Bleed absolutely fits the 20BS mold. In my mind, Bleed combines the best of Pulkas-esque angsty aggression and Linkin Park's penchant for absurdly earwormy hooks before filtering 'em through dreamy Deftones textures. But listen to a track or two and you'll inevitably pull your own comparisons. At the end of the day, this is an album that simultaneously feels like an homage and an attempt to modernize a sound that is all to easy to write off as "throwback." The vibe is airy yet moody. Hazy and shimmering. The grooves are as engaging as you might hope, but the project is often defined by atmosphere--it frequently feels like said groove is obscured by gazey gossamer. The true star of the Bleed formula? The vocal melodies, which are wonderfully entrancing, hypnotic, and--dare I say--borderline psychedelic. A potential drawback to this style is that some songs do feel quite comparable from a vocal perspective. That said, as a huge fan of what Ryan Hughes is doing here with his ethereal delivery, I personally find the similar vibe from track to track endearing. The album makes for a very cohesive listen. Nostalgia inevitably plays a not-insignificant role in one's enjoyment of Bleed, but after many, many, many listens, I am firmly of the mind that the songs contained herein slap not because they feel old, but rather because they are great songs loaded with killer hooks. Case closed. I would have enjoyed this album if were released in 2000, but I positively love it in 2025. Badass stuff through and through. If you're looking to sample, I HIGHLY recommend checking out "Through the Cylinder," which is my favorite track off the album and easily one of my most-listened tracks of the year. Bleed - Bleed was released May 2nd, 2025 via 20 Buck Spin. Find it on Bandcamp here!
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.
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 a cool post-sludge/doom single.
Written by: The Administrator
Sometimes, dear readers, the promo pit delivers. Whilst searching to satiate a craving for darkly menacing music, I randomly listened to this new single from Poland's Optical Sun...and loved it so much I immediately took their debut album for a few spins. Optical Sun play a murky brand of post-sludge interspersed with notably intense vocals and the liberal application of samples from old Polish movies. In service of oppressive doom and gloom, they also utilize a double-bass technique. As such, "Mój Bóg nie Umarł" is ominous and delightfully hefty, a clear result of that extra emphasis in the bass department. The film samples, for which I admittedly lack any frame of reference, sound very well incorporated, and overall add another layer of intensity. Promo indicates that the band borrows excerpts from the film Diabeł directed by Andrzej Zulawski, from the TV series Przyłbice i Kaptury, directed by Marek Piestrak, and Zbigniew Jerzyna's radio drama Gasnące kolory. There's one part where the speaker sounds on verge of hyperventilation--no clue what they are saying, but it sounds like a less-than-comfortable situation, to be sure. The lurching laughter is creepy too. Samples aside, the vocals are sludgy and throaty and raw in a way that really tickles my fancy--the chanting on the back end, for example, is super forceful and cuts through the instrumentation with an eerie edge. "Mój Bóg nie Umarł" serves as the first single from Optical Sun's forthcoming sophomore album. The track does end very abruptly, which makes me wonder if the album flows from track to track in a seamless fashion. Time will tell! As far as typical rollouts go, it's pretty damn early--Diabeł is scheduled for release on Sept. 11th, so can only assume we'll see more singles drop between now and then. I'll be keeping an eye/ear out. Listen to "Mój Bóg nie Umarł" below and find it on Bandcamp here!
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 a cool debut single.
Written by: The Administrator
At this stage in my so-called career as a scribe here at ye olde Sleeping Village, it is fairly well documented that I relish the opportunity to write about a band's debut single. Negative Bliss, Elsewhere, Slaughtersun, and Am I in Trouble? are a few recent-ish examples, and I'm sure that in all of these mini-reviews I touched on a similar point: it is exciting to witness first steps, and, later, it is exciting to witness potential realized. A band at the beginning of their career inevitably develops upon the ideas presented in their first outing, and going along for the ride from the onset feels like a privilege. Todays debut single in question, "Where Black Stars Beckon," comes from Munich's Dark Solstice. Playing a brand of self-described "dark metal," Dark Solstice possess an enjoyable flair for drama, blending melodic grandiosity with a brooding atmosphere. In terms of FFO's, press material cites the unholy trinity of Dimmu Borgir, Cradle of Filth, and Dark Funeral, which feels accurate. Alongside the implicit moodiness, there's a bombast leading the aggression. "Where Black Stars Beckon" is dark but not oppressively so, and there's certainly a sense that Dark Solstice could erupt into a spooky symphonic passage at any given moment. It sounds crisp and modern, and the interplay of the cleans against the more spiteful and angsty harsh vocals lends an element of tension and interest. Most importantly, "Where Black Stars Beckon" is highly listenable, filled with little moments that stick in the ol' brain with a barbed tenacity. The chorus is catchy, the central riff is a simple but engaging motif. At first blush I felt like the track ran a little long, but after many listens I've come to appreciate the solo that closes out the track--it isn't terribly flashy in the grand scheme, but adds some levity. All told: an impressive first showing. "Where Black Stars Beckon" serves as the final (and title) track of Dark Solstice's forthcoming debut EP, which will be released May 23rd, 2025. Give it a listen below and find the EP preorder here!
Dark Solstice's assorted links can be found here.
Cover art by M. Irvan Dionisi, deathcrow.archive
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:
Written by: The Administrator
In my humble opinion, Burner are on the precipice of being the Next Big Thing in heavy music. Their debut album, 2023's It All Returns to Nothing, was an absolute statement in sheer aggression, and almost certainly the hardest album of 2023. As I said in my favorites-of-the-year list, Burner deal in "vicious and pummeling stuff, and tap an endless well of ferocity. Hard as fuck." Burner are back with a new single, and I'm pleased to report that it could very well qualify as their hardest track to date. "City 17," which explicitly discusses the violence and cultural genocide enacted against the Uyghur people under the Chinese Communist Party, embodies a uniquely menacing aura. It's an intense listen. It's very good. Honestly, there's no shortage of words to describe how supremely heavy this track is. Indeed, any descriptor you might find lurking in the shadowy liminal space between death metal and hardcore feels perfectly appropriate, and perhaps even understated. "City 17" is crushing, volatile, ferocious, skull-shattering, unforgiving, blistering, brutal, pugnacious, surly. It stomps and bludgeons. The guitar tone is truly massive, and the vocals hit a perfect emotive balance between bestial and distinguishable. The track does pull back around the two minute mark, and while the break from sonic bombardment should feel like a reprieve, a constant sense of tension pervades. The inevitable climax casts a dark shadow, and when it arrives, it does so with remarkable violence. The mighty breakdown absolutely clobbers. It is the aural equivalent of blunt force trauma. Incredible stuff. Give it a listen below! I also recommend checking out the video here. Please note content warning for depictions of torture. Burner - "City 17" was released March 18, 2025 via Church Road Records. |
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