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!
0 Comments
 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
Written by: The Administrator
Prepare yourself, dear reader, for some stoner doom. Some lumbering stoner doom. Some lumbering mammothian stoner doom. Some lumbering mammothian psychedelic stoner doom. Some lumbering mammothian psychedelic groove-laden fuzzy megafaunic stoner doom. Some... Anyways, that's what we're dealing with here. Acid Mammoth are back for a fourth round in the ol' riff arena, Supersonic Megafauna Collision as their champion. If you're familiar with this crew's past work, you know the score. Acid Mammoth are, in my book, one of the premiere stoner doom bands active today. They are consistent, colorful, and make music that doesn't get bogged down in its own aura and atmosphere. The riffs are repetitive yet groovy and classically hooky, and the songwriting is intriguing enough to leave room for a little psych meandering without losing the thread too entirely. While I personally enjoy the vocal tone and find it to contrast nicely with the fuzzed out heft, I can see the vocals being a sticking point for some--they embrace a whining reediness. I've seen complaints that the album doesn't provide enough variation, and while the general scope of the album is pretty well established by the second track, we're not exactly here for innovation. If you're inclined to be bored by long-form psychedelic doom, this won't change your mind on the genre, particularly as the album approaches the tail end. But! Supersonic Megafauna Collision isn't about innovation--it is about the charming and quality reproduction of a formula that has been proven to work exceptionally well. I consider this the band's best work yet. If you're on the hunt for that good ol' lumbering mammothian psychedelic groove-laden fuzzy megafaunic stoner doom, Acid Mammoth will do nicely. Acid Mammoth - Supersonic Megafauna Collision was released April 5th, 2024 via Heavy Psych Sounds. 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. Here's a mini-review of a new single from the one and only Cult Leader.
Written by: The Administrator
A Cult Leader drop is always cause for celebration 'round these parts. I was a massive fan of 2018's A Patient Man, and was quite pleased with 2022's Gather & Mourn split EP with END as well, particularly the braying and discordant "Ataraxis." I can only hope the release of this latest single, "Learn To Love It," is a harbinger of another album to come. The fact that it originates from the Gather & Mourn sessions may imply that it is a genuine standalone, but any case, I'll happily throw this single track on repeat. It's already done a serious number on my workout playlist. From the sheer ferocity to the thematic focus on catharsis and religious oppression, "Learn To Love It" is a classic Cult Leader track through and through. We're talking churning and crusty hardcore. Bestial and furious. The riffs are bludgeoning yet bleak. Anthony Lucero's howled roar is truly animalistic, verging on rabid. In the world of loud and raging music, he's one of my favorite vocalists by benefit of that mighty feral gravitas. At a succinct two minutes and fifteen seconds, "Learn To Love It" is a brisk affair. My favorite part of the track is the fake-out outro, which erupts magnificently after a false conclusion and second of silence. It is not as if the track is subtle up until that particular moment, but Cult Leader nevertheless drive home the point with an admirable and fearsome fury. Check out the single below, and find it on bandcamp here! Cult Leader - "Learn To Love It" was released March 29th, 2024 via Deathwish.
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. Here's a mini-review of a doooomy album.
Written by: The Administrator
After a week of genre-hopping, it's high time for us slumbering scribes to return to our roots. That's right, folks: we're firing up some doom. More specifically, some long-form riff-centric darkly occult doom, courtesy of Italian doom mountaineers Cancervo. III is, well, their third outing, and I'm firmly of the opinion that it is their best work yet. With one organ-heavy intro followed by four thick tracks, this album is built on a solid bedrock of droning monolithic riffs and a notably dragged-from-the-crypt vocal style. The whole affair feels ritualistic and borderline hypnotic--some of these tracks could be twice as long and I'd happily sink into their ample presence. Cancervo's approach is antiqued, albeit in a way that feels more referential to traditional doom and less like mere imitation. They've certainly cranked up the spooky factor, for one. III is coated in a thick patina of mildew and dried blood. No bones about it: this album is impressively dark and unequivocally evil. Listening transports you to a candlelit catacomb, strapped to a sacrificial slab surrounded by hooded cultists. Or perhaps a moonlit forest, tied to a funeral pyre. A real witches-at-black-masses atmosphere. As it were. In terms of favorite tracks, "Sacrilegious Mass" and "Burn Your Child" are stone-cold bangers, and serve as near-perfect representations of the style. While each track herein is very solid in an individual light, the album does feel increasingly formulaic over the runtime. After each track's respective intro, the vocals are largely used to deliver mantra-like repetitions of a key phrase, and by the fourth track a little deviation would be nice to hear. That said, nothing here is worth skipping, and the notably short runtime was a smart move. For fans of old-school doom, I absolutely recommend checking this one out. Cancervo - III was released March 29th, 20244 via Electric Valley Records. Find it here! 
Written by: The Administrator
With just a few tracks released to date, the first of which dropped July of 2022, Tooth & Dagger's rollout has been quite prolonged. Including today's song in question, this alt-metal band out of Birmingham will have released three singles by the end of 2024. Whether or not this is all culminating in a debut album remains to be seen, but in the meantime, they've given us some quality. Some bangers, dare I say. Your milage may vary dependent on tolerance for alt-metal in general, but I personally quite enjoy the genre's inherently orotund sense of emotive and sonic excess. Tooth & Dagger are thunderous and slick. Their output thusfar has been decently eclectic, evoking the radio-ready overblown emotion of 2000's-era modern metal, the bouncy hookiness of nu-metal, and the oversized physicality of groove metal. This latest single, "A.T.T.A.S," draws from similar inspiration, but also feels more massive. More pissed off. More angsty. In all respects, "A.T.T.A.S" hits hard. The slamming riff that effectively buries the calm-before-the-storm intro means business, and the guitar throughout seems intent on creating headbangable pockets. Speaking of pockets, the vocals move quite seamlessly between harsh to clean and back again. The cleans in particular lean heavily into an adolescent sneer--and this I mean in the best possible sense. There's an authenticity to the aesthetic, a warm nostalgia amidst the modern sheen. No question about it: "A.T.T.A.S" is a banger through and through, and here at the Sleeping Village, we celebrate bangers. Check it out below!
Tooth and Dagger can be found:
Linktree
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. Here's a mini-review of the debut single from a symphonic metal duo.
Written by: The Administrator
As of late, the ol' promo pit has been overflowing with debut singles from brand new bands. Luckily, writing about them has become a bit of a calling card 'round these parts. As established over the course of several recent mini-reviews--Negative Bliss and Slaughtersun, for those curious enough to dive into the archives--the birth of a band is a pretty exciting event. In the course of promo hunting, I'm often more motivated to check out something new and unknown than a press kit from an established act. Such curiosity has led me to "The Last Ember," a promising debut track from fresh-faced symphonic metal act Elsewhere. The band is a duo comprised of one Nikki and Nic, and the track's vocals come courtesy of a collaboration with Finnish-Canadian vocalist Elvann. While requisite piano and swelling hooks are present, Elsewhere's instrumentation seems more subtle in its bombast than many other paragons of the genre. There's a nice forward momentum punctuated by an engaging ebb and flow--the percussion fills space quite well, with short albeit catchy riffs and requisite orchestral grandiosity punctuating the track. Elsewhere keep things moving nicely, and as a result, the track flies by. Symphonic metal haters aren't going to be swayed, but appreciators of the style will appreciate the execution. On the vocal side, Elvann's presence is prominent and notably agile, switching flows multiple times across the breadth. The intro utilizes a sinister whispered delivery that immediately amps up the drama, but is promptly abandoned for more traditional symphonic cleans. While I do wish the more menacing vocals made a return later on, the initial switch provides a fun contrast. One particularly charming moment on the back half of the track introduces a sing-song chanted cadence that adds an almost childlike element. The attention given to distinct vocal deliveries is thoroughly alluring. Promo material indicates that "The Last Ember" is the "first of many singles to be released in 2024." I, for one, will be keeping an eye out for what comes next--I'm psyched to see how Elsewhere develop their sound and identity. More guest vocalists? More overt power metal braggadocio? Time will tell. In the meantime, give a listen below! Elsewhere - "The Last Ember" was released March 8th, 2024. |
WELCOME!We provide thoughtful reviews of music that wakes us from slumber. Written by a highfalutin peasantry. Archives
October 2024
Categories
All
|
RSS Feed