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?
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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: The Administrator
Given an interest in both cryptids and excellent music, I am a proud Mothman and the Thunderbirds fanboy. Ever since hearing and subsequently reviewing the crisply remastered version of "Simpson = Real Footage," one of my favorite tracks from 2021's debut Into the Hollow, I've been dying for news of a follow-up album. Into The Hollow presented a near-endlessly intriguing and eclectic weirdo blend of prog and sludge, but over time, Alex Parkinson has increasingly leaned into more infectiously poppy songwriting and production that feels lush and oh-so clean. The latter comes from Egor Lappo, who has polished away sludgy scuzz to exceptional results. The weirdness remains, however, and in the latest stage of evolution, the band labels their blend of "adventurous prog, thrilling hard rock, and dreamy psychedelia" as "dream metal." I'll be damned if that isn't a damn fine descriptor. Which brings us, conveniently enough, to today's premiere. Mothman and the Thunderbirds will be releasing the intensely enjoyable Portal Hopper on July 12th. We're honored to present here the lead single and album opener "Ruby Skies." Check it out below via the bombastic lyric video, and, as always, we'll await your arrival on the other side! 
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
The holiday season fast approaches here at Ye Olde Sleeping Village, and, a such, our slumbering and ink-splattered populace has begrudgingly begun to prepare for the inevitable. A healthy stock of young evergreens have been sacrificed. Stockings have been hung by the chimneys in, erm, a haphazard and disorderly fashion. Our resident confectioner has nailed down a recipe for sugar plums, which we have elected to feed to the numerous resident mice. And, with the arrival of one Rick Massie, our soundtrack is set. Let the festivities begin. Rick Massie has made quite the habit of releasing holiday-themed singles--the more observant members of our dear readership might remember a premiere of the Halloween inspired "The Dance (of the Dead and Alive)," and those of you who follow Rick's output in general may recall his cover of "We Three Kings" that dropped around this time last year. The tradition continues with a new reimagined version of a well known Christmas tune: today's premiere in question is a cover of the classic "O Come, All Ye Faithful." Give it a listen below, and, as always, we'll catch ye on the other side! 
Written by: The Administrator
If you, dear reader, have A. frequented our humble halls with some regularity, and B., have a remarkably keen memory, you may recall prior coverage/adoration of one Rick Massie. Over the past few years, this one-man outfit from the wilds of the Yukon consistently presents a healthy blend of rock, prog, and metal, whether in the form of an ode to Halloween, a foreboding single, or across the breadth of an expansive album. Each Rick Massie moment features a very different sonic and aesthetic backdrop, but the intentionality and sheer quality remains consistent. For further proof, look no further than today's track in question, a largely faithful cover of the mighty Opeth's "The Moor." It officially comes out on May 20th, but until then, you can listen to your heart's content at ye olde Sleeping Village. Check it out below! As always, we'll meet ye on the other side.
This year, in an attempt to cover more music that would all-too-oft slip through the very large cracks, we're trying something new and novel around these parts. Namely, we're gonna actually publish the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. In that spirit, here's a mini-review of a Very Good heavy psych single.
Written by: The Administrator
Today's mini-review is brought to you by my noteworthy inability to get stuff done when I intend on getting it done. I first heard this stellar single by Kansas' own They Watch Us From The Moon upon release back in December of 2021, and it's taken a few months to muster the wherewithal to actually put my praise to text. I apologize to the band for my tardiness. In any case, we're here now. In a word (or rather two): holy fuck. "Return to Earth" is a magnum opus from a band that inevitably has another magnum opus in store. This 10-plus minute track is a stellar display of the mastery of craft They Watch Us From The Moon have accomplished in a relatively short time. Their heavy-psych-by-way-of-doom is heavy on atmosphere, and carries itself with a comfortable air that recalls the more cosmic sides of Slomatics and Mammoth Weed Wizard Bastard, and perhaps a doomed-out interpretation of Meddle-era Pink Floyd. The multiplicity of vocal styles is a particular strong suit, with Luna Nemeses leading the pack with a simply delightful tone that sails comfortably above the instrumentation and various backing vocals. While spacious enough to leave the listener vaguely untethered, the track is ultimately grounded by the sheer catchiness of the refrain, which runs across the whole with a hypnotic consistency. While some may find the runtime excessive for the elements presented, I'm a huge fan of the borderline meditative environment that blossoms from the repetition of the stirring chorus, particularly in the back half. If this moon crew's next project contains tracks of this caliber, we're in for one helluva treat--which says something, considering how damn good 2020's Moon Doom! was. Bottom line? This is a stunning song, and if you enjoy stoner doom, heavy psych, or any related variations thereof, I can almost guarantee that you'll find yourself kicking back and throwing "Return To Earth" on repeat. 
Written by: Blackie Skulless
Two years ago, Black Sites absolutely blew my mind with their second album titled Exile. The Chicago musicians have certainly not hit the brakes on giving it a follow-up. Considering frontman Mark Sugar took on Bear Mace last year, I’d say they had their hands full. Late this year, a follow-up titled Untrue hit the scene. While played in the same traditional metal style with proggier takes and modern surface finishes, this avoids being a carbon copy. For the most part, this record lays down the melancholic gradient heavier than before. Though it’s only slight, it’s enough to let it stand apart. Lyrical themes around life, tragedy, and modern issues certainly boost this, and I think helped the poetic flow, which is something that really stands out. The smasher “Call It By Its Name” is a wonderful vocal driven number with a smooth chorus and galloping guitars weaved in. Songs like this breathe life by relying on higher wails and dissonant, drawn-out passages to really dial in the emotion on top of everything else. |
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