|
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
I was lazily enjoying a seasonally appropriate cold snap here at the Sleeping Village. I was avoiding the icy trek out to the promo pit, electing instead to staying inside my warm hovel, listening to classic albums and reveling in nostalgia. I was comfortable in the knowledge that with every hour of inactivity, our humble music review site experiences the slow burn of algorithmic death. But! The self-imposed slumber would not last. Black/death metal (now) trio Ashenheart have dropped a new single. Rise and shine! "Empire of the Necromancers" serves as the first track of Ashenheart's forthcoming EP, Tales from Eternal Dusk, which releases April 18th on cassette via Fiadh Productions. This track feels like a genuine level up, and I say this as a big fan and champion of that which hath come before. While raw and sharp, the songwriting on Faded Gold often felt unhurried, content to let you live in the morose atmosphere. I liked that aesthetic quite a bit, but this new direction is notably menacing and powerful. A little more forthright and pointed. Amanda Kauffman's guitar is immediate, aggressive, and significantly heavier--her riffcraft here bestows this track, and presumably the EP at large, with a sinister weight and an intimidating presence that leans further into death(end) metal territory. The main riff is wicked, simultaneously jagged and blunt, like a medieval mace wrapped in barbed wire for good measure. Alex Loach's vocals are as mean as ever. I mean, positively caustic stuff. Alex has swiftly become one of my favorite vocalists in the throat-ripping-and-rending department, and from that first explosive shriek--"BRING THEM BACK TO LIFE"--it is clear he's only getting more confident. I do enjoy the additional vocal dimension here, with Steve Wiener adding deathy growls underneath, which act as a grounded foil to Alex's harsh delivery. And, speaking of Steve, his contributions--keys and synths, said backing vocals, acoustic guitar, and solo guitar--add a lot to the overall shape of the track. The keys in particular offset the sheer aggression of the guitar very nicely, and add an element of playfulness that keeps the ear on constant high alert. In sum, "Empire of the Necromancers" is a stellar track from a band that is only getting better. It indicates an exciting sonic direction, and I am interested to hear how the combined force of additional punch and additional backing elements will translate across the EP as a whole. Until the full thing drops, I highly recommend streaming "Empire of the Necromancers" and hitting that pre-order here!
0 Comments
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
Given a useful but also obnoxious penchant for hyperactivity, I often crave music that is chaotic enough to drown out the dreadful din of my own brain. It's what draws me to extremity in music, regardless of genre, and when I stumbled upon something truly unhinged, I get excited. Enter Daniel Neel's latest EP, Descent. Brandishing a simultaneously djenty and orchestral brand of progressive metal, Daniel Neel revels in a variety of odd inclusions. Descent is an intense blend of djent, dramatic choral arrangements, gothic ambience, mechanical precision, and a veritable orchestra of electronic instrumentation. Unexpected time signatures? Check. Big chugging riffs? Check? Shuddering and shivering percussion? Check. Cheerful and/or mournful keys? Check. There's so much going on, and it's all happening so fast--it often feels like I've accidentally set my audio player to run at 1.5 speed. In other words, Descent successfully itches the part of my brain that refuses to shut up. It is maximalist to a remarkable degree. I can only imagine Daniel Neel as a mad musical scientist, pouring sonic elements into a comically large Erlenmeyer flask, screaming "More! More!" as the concoction bubbles and glows and overflows. While there is a good balance between the djent and the orchestration, I do feel like a few tracks run a little long for the ideas they present. "Tic," for example, starts with an awesomely frenetic riff that starts to feel stale after some time, and I wish the other elements--the vicious vocals, for example--were given more time in the limelight. But I also appreciate the irony in impressing my own impatience on an already hyperactive project, so take that with a grain of salt. Highlight tracks "Cosmic Waves" and "Harbinger ov the Void" present a tidier balance of component parts. Bottom line: if you're intrigued by chaos, give this one a listen! Daniel Neel - Descent was released Dec. 1st, 2025. Find 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 reviews at a greater frequency, thereby shining our very small spotlight on more cool shit. Without further ado:
Written by: The Administrator
I'm an established fan of redveil--his 2023 EP playing w/ fire was one of my favorites of that year. As such, I've been eagerly awaiting news of a new project from the redveil camp, and while 2024 didn't see a full project, he did drop a couple of singles, with this latest, "what3ver," materializing on the very last day of the year. This is an excellent track, both a display of redveil's skill as a rapper/producer, and highly re-listenable to boot. The hook is earwormy in a way that feels more subtle than immediate. The clean production is bright and crisp, almost glowing. Warm and immersive stuff, with the eventual piano adding a nice flourish. Meanwhile, his lyrics paint a short and sweet narrative of recognizable unrequited love. I love the second verse where he discusses his casket outfit in detail: "I can get it all dry-cleaned quick, I just need you to decide/Maybe I'll be satisfactory if I'm easy on your eyes." I feel like I saw more that a few reviews and articles comparing his cadence and lyrical approach on 2022's Learn 2 Swim to Earl Sweatshirt, which felt like a fair comparison for that project. Here, several years later, there's a similar focus on impactful word choice, but "what3ver" feels first and foremost like a redveil song. As a rapper, he has a distinct identity, which bodes well. I feel like in a few years we'll be saying that up-and-coming rappers take influence from redveil. Anyways, yeah. This is great. Fingers crossed that "what3ver" serves as the first salvo of an album cycle, or at least an indication that redveil is in the mood to release music. I'm hopeful that the fireworks on the outro signal the beginning of something anew. In any case, 2025 would be the perfect time for new redveil. redveil - "what3ver" was released Dec. 31st, 2025. Find it here and listen below!
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. In that spirit, here's a mini-review of a thrashy debut single.
Written by: The Administrator
This year, we slumbering scribes made a deliberate attempt to check out more debut singles. When review requests from brand new bands arrive, they all-too-oft fall through the cracks of the promo pit, overshadowed by flashier release announcements from bands with broader brand recognition. After focusing a little more diligently on discovering these undiscovered tracks, I ended up writing about some very cool debut singles--check out mini-reviews of the first-born tracks from Negative Bliss, Slaughtersun, and Elsewhere. But! I evidently wasn't diligent enough, having regrettably missed this banger from Theocracide, leaving it waiting in the ol' inbox for an embarrassingly long time. Better late than never? Released back on June 14th of this year, "Neutralise The Predator" is an energetic thrash ripper that goes for the throat right out of the gate. This track delivers the kinetic clamor and riff-forward aggression that we can only expect from a band citing New Wave of Thrash influences such as Warbringer and Havok. But Theocracide also provide a welcome additional heft with notable bass presence and some punky vigor, integrating a little stomping crossover into the proceedings. Check out that muscular groove that sets the stage for the back-half soloing. Thematically, "Neutralise The Predator" provides a conduit for catharsis--to quote promo material, the track overtly "tackles issues of assault and sexual violence in society whilst providing an outlet for survivor’s rage and the desire for retribution." Bena Pietroni's vocals are acidic and sharp, and feel explosive without ever pulling ahead of the instrumentation. There's an incendiary urgency in the delivery that is exciting and vehement. Most of all, "Neutralise The Predator" is music that demands a full-body experience. There's something to be said for a present-day thrash song that makes me want to kick over my desk chair and start a one-man mosh in the confines of this lonely scriptorium. Give me a full album of this energetic ire and I'll happily be inventing techniques to swing elbows into my own teeth. If you like crossover or thrash in general, you should check this one out. In terms of new music, it does looks like Theocracide have another single on the horizon--I've pre-saved "Warning of the Serpent, which drops next week! Theocracide - "Neutralise The Predator" was released June 14th, 2024.Find it here! 
Written by: The Administrator
When I crave some fuzzy riffage that embodies the laborious act of clambering through a swamp in pea-soup fog, I turn to Green Hog Band. These fellas have been putting in the work for a few years now, routinely dropping fresh batches of fuzzy 'n' scuzzy motorcycle-revving stoner doom. This latest, Fuzz Realm, was released back in June of this year and subsequently sat in the ol' promo pile for far too long. But better late than never, says I. Let's dive straight into this tarpit. Even before hitting play, I already felt exceptionally familiar with the contents of Fuzz Realm. That's a strong indication that Green Hog Band have built themselves a cohesive identity. This is dirty stuff. Every thick riff is coated in a greasy patina of motor oil and cigar ash. Meanwhile, the clean-yet-demonic vocals--delivered in both Russian and English--have been chained to a Harley and dragged across gravel for, I dunno, a lifetime and a half? In terms of elements that feel a little fresh in the Green Hog Band playbook, a distinct occult influence peers through the cracks in terms of samples and general spooky ambience. Put it all together, and the formula speaks for itself. The Fuzz Realm aesthetic is dark, menacing, and, in case I have not been clear, heavy as ever-living hell. While everything here feels like it would fit comfortably on any stoner metal playlist of your choosing, closer "Phantom" is perhaps my favorite track, as it balances softer passages with throat-crushing guitar dropping in to remind the audience who is boss. I also love "Nightmare Creatures" for that simple and endlessly earwormy riff. The aforementioned vocals add a little unique flair and flavor, but at the end of the day, these eight tracks--along with the Green Hog Band catalog in general--are built upon and sustained by that sweet, sweet heft and fuzz. The riffs and songs don't necessarily stick in my head after the album is done, but they really don't need to. They make their impact in the moment, and that, I would argue, is significantly more important. Green Hog Band - Fuzz Realm was released June 20th, 2024 via The Swamp Records. Find it here! 
Written by: The Administrator
I'm unsure what role a "Wind Doula" plays in the grand scheme of meteorological phenomenon, but as a track title, the term undeniably oozes a certain Fuzznautian vibe. This latest single from our favorite one-man instrumental soundscapist is, like all of Emilio Rizzo's work, a breath of fresh air. If you're a devout reader of the Sleeping Village--and/or currently living within the walls of our drafty scriptorium--you likely recognize the name. But for the unfamiliar, Fuzznaut writes comforting and immersive music that should feel minimalistic but is often unexpectedly engrossing. Bridging the (often inscrutable) gap between fuzzy doom, shoegaze, atmospheric post-rock, and drone, Emilio's work is always a welcome additional to my listening rotation. The past few weeks, this latest track accompanies me pretty much every morning as I am waking up, preparing body and mind for the day. Much like "Spacerock" made an impact back in May of this year, "Wind Doula" has become an almost ritualistic addition to my day. "Wind Doula" is immediately identifiable as a product of Fuzznaut. The common components are all there, and while this track does feel a tad fuzzier and incorporates a lil' reverb-laden percussive stomp at the beginning, nothing really breaks the formula. This track feels like the soundtrack that plays whilst trudging alone across a desolate windswept plain, dust devils dancing lazily in the hazy distance. It is lonely and elegant and organic, and breathes in a weathered way. The track oozes a languid sense of meandering--it documents a journey with distinct forward motion, but the destination feels irrelevant. It's a relaxing listen, and "Wind Doula" honestly feels a little short at 4:20. Indeed, if this thing were an hour long, I'd gladly partake. Fuzznaut - Wind Doula was released Sept. 6th, 2024. Find it here!  Written by: The Administrator Despite a proclamation that 2024 would be the year I review whatever I want, audience expectations be damned, our coverage of hip hop here at the Sleeping Village has been lagging behind my actual listening habits to a pretty significant degree. Here's an attempt to remedy that! Atlanta's up-and-coming BabyDrill released this single on Friday, June 21st, and it's been on solid rotation all weekend. Worth talking about, methinks. I enjoyed ScoreGod, BabyDrill's album released back in February of this year, but admittedly haven't listened to with any regularity since the first few days post-release. With a limited beat variation and a lack of features on the back half, I did find his forceful monotone delivery to get a little repetitive. That said, several tracks were certified bangers. In the context of singles, his flow is fun and engaging. In any case, ScoreGod clearly demonstrated a lot of promise, and this is an overly expository way to say that I was excited to hear this latest track, "Dracula," outside of the context of a larger project. And this is quite possibly my favorite song from him yet. "Dracula" leans into the darker side of the current ATL trap aesthetic, and BabyDrill's delivery is urgent and hard-hitting, yet juuuuust effortless enough to indicate a certain air of confidence. His flow works quite well over the spooky beat, which is focused and polished. Bottom line? While the track doesn't really embody a particularly impactful experimental/horror vibe and is far from a sonic outlier in the current meta, "Dracula" is a pretty damn listenable track that bodes very well for future projects. BabyDrill - Dracula was released June 19th, 2024. BabyDrill can be found:
Written by: The Adminstrator
It's been a while since we've published a mini-review 'round these parts. But today, as I exist in the dull yet painful aftermath of some fairly intrusive dental surgery, I'm ready to listen to the same song on repeat until I miraculously spawn a writeup that encompasses all my thoughts and feelings. That, dear reader, is how this process works. Anyways! On to Ainor's delightful "City Lights," today's track in question. If you're unfamiliar, Ainor is a bit of a musical anomaly and enigma, with projects seemingly spanning the musical spectrum. With "City Lights," a single released on June 2nd, we're treated to an overtly alt-rockin' aesthetic, the likes of which I am personally very fond. Upon hearing a rough mix of "City Lights," my initial reaction was, and I quote: "Really enjoyable! Very nostalgic vibe without feeling antiquated." Completed mix in hand, and some time and multiple listens later, I can confirm that this assessment has held up quite well. In some respects, the track recalls the early 2000's alternative radio rock of my childhood in the best of ways. It's the kind of song I would hunt down and subsequently transfer to my 512Mb Transcend T.Sonic 310 MP3 Player (in red, obviously). The vocals across the first half are emotive and just a tad cloudy, soaring yet tinged with a nice angsty patina. The chorus is catchy, a really singalong. The midsection, however, feels like a more grown-up take on the genre's implicit sense of youth, with some nice drum presence and a whispered and dramatic build into some comparatively raspy and aggressive vocals that sit beneath the choruses' triumphant return. It makes for a pretty damn energetic and climatic moment. For a four minute track, this thing breezes by, with the runtime broken into engaging segments in a fairly seamless fashion. Highly listenable stuff. While I'm a fan of the Ainor ethos in general, should we get more stuff of this ilk, I'll be first in line to check it out! Ainor - City Lights was released June 2nd. Find it here!
Ainor can be found:
Bandcamp 
Written by: The Administrator
Horizon-gazers: assemble! Since the resurgence of this column a few weeks back, ON THE HORIZON has unintentionally been focused on doom and doom-adjacent releases. Today's entry shakes up the status quo. Let's get a little more grisly, shall we? The (forthcoming) debut album from Albuquerque's Magna Moriendi has been a long time coming. This one-man death metal project dropped a raw and raucous 3-track self-titled EP a while back, which I thought was quite impressive. Since 2020, nothing more emerged from the Magna Moriendi camp. But good things, as they say, come to those who wait. Into The Murk will be released on May 31st, and lead single "Moment of Apparitions" hit the ground running this past Wednesday. This is a damn strong track, and if it's any indication of what Magna Moriendi has been cooking up, I think we're in for a pretty delectable death metal debut. "Moment of Apparitions" takes a slightly less blistering approach than the 2020 EP. The track is a little longer than anything that came before, and while the riffage carries itself with a similar urgency, the more mire-inflicted implications of the album title and artwork are apparent in the general foreboding atmosphere. There's a rolling churn throughout that is just nauseating enough, and the riff that squirms across the current is an oddly invasive earworm. There's a solo that adds a nice level of unpredictability, and a thick low end keeps everything anchored. The vocals have seen some polish, albeit in a very comparative sense--they are still notably brutal and exceptionally muscular, but fit a little more comfortably in the overall mix. "Moment of Apparitions" represents a level up for Magna Moriendi. I've had this one on repeat today, and I'm psyched to hear what the remainder of this album has in store. May 31st. Mark yer calendars accordingly. In the meantime, check out "Moment of Apparitions" below! On the very occasional Friday, a wagon arrives at the Sleeping Village’s crumbling gates, stuffed to the brim with 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 choice cuts 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! On the docket for today, April 12th, 2024 Necrot, Corvus Corone, Heavy Temple, and Exist
|
WELCOME!We provide thoughtful reviews of the music that wakes us from slumber. Archives
November 2024
Categories
All
|
RSS Feed