Written by: The Administrator
After spending a long day trudging through a world that seems fully intent on chewing me up and spitting me out, the first thing I want to do is listen to a band that seems fully intent on chewing me up and spitting me out. No, literally, the very first thing. I get in my car, crank that angry spiteful music, and enjoy life for a little while. Enter Kingston-upon-Hull's Mastiff. Prime candidate for a wholeheartedly cathartic commute. Deprecipice, the band's fourth full length, marks a shift into more overt hardcore waters, allowing the grind, sludge, and deathier elements of their prior work to take more of a back seat. That's not to say, of course, that those qualities have dissipated--more that they have been more fully and organically incorporated into a (somehow) meaner and harder Mastiff sound. We can churn out descriptors all damn day. Deprecipice is seething, ugly, belligerent, harrowing, punishing, relentless, crushing, bleak, vengeful. There's an implicit curiosity that arises from the band's uniquely gnarly intimidation factor: just what level of violence are Mastiff actually capable of? They can howl and roar and batter the flimsy wooden fence in Beast-esque fashion, but what happens when they actually get their hands on you? There's tension in the implication. This is a massive album, rage-fueled and roiling, and as good as their discography is thusfar, I consider it to be far and away their best work to date.
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The Sleeping Village has been around for a few years now, and during that time, a lot of reviews have unceremoniously disappeared into the dark confines of our archives, destined to never see the light of the front page again. Music appreciation, however, is a timeless affair, and in that spirit, here is a review retrieved from the deep dark depths.
Written by: The Administrator (originally published July 6th, 2019)
Sometimes a band has a almost-but-not-quite grand debut, the kind of album that bears the weight of rookie flaws, but speaks of something larger to come. And then, sometimes, said band delivers tenfold on their next outing, absolutely shattering notions of sophomore slump. And sometimes the groggy-eyed scribe who said he'd review the album in a timely manner spends two months mulling over how best to put his enamorment into words. And that lands us here, with Wolf Blood’s II spinning for what seems the umpteenth time. Wolf Blood is one of those bands who revel in throwing a bevy of ideas at the wall and hoping they stick. Unlike most who engage in such reckless activity, these folks are really damn good at making sure it all stays up there. It’s purely original stuff, and in this business, that's a significant and rare quality.
Editor’s note: this review was originally published in 2020 at a now-defunct site for a collaborative Best Albums of the 2010’s Retrospective. As the internet has since swallowed said site, my retrospective review now appears here in lightly edited form.
Written by: The Administrator
When initially considering what album I wanted to draw into the light for an End of Decade retrospective, the sheer volume of possibilities sent me into a bit of a frenetic journey through a decade of heavy music. Let’s face it: in ten years, the metalverse spawned an unbelievable bounty. But, eventually, the only true option became clear. For such an event I needed to focus on an album that, beyond being excellent in its own right, somehow personally set the stage for the decade as a whole. That, for me, is Agrimonia’s Rites of Separation. This album singlehandedly determined the course of my music listening experience from 2013 to the present. “Talion,” the album’s first track, begins with a piercing riff, a crystal-clear clarion call. It serves as an assertive hook, cutting through the noise before the noise even begins. This is the track that pulled me into a world of harsh vocals and aggressive atmosphere, a world of deliberate and progressive songcraft. Because Agrimonia are so genre fluid, existing betwixt black metal, sludge, post-metal, post-hardcore, crust punk, death metal, and doom, it is remarkably easy to approach their sound without any particular expectations. As such, a young acolyte to heavy music gained perspective without necessarily committing to the trappings of a particular niche. 
Written by: The Administrator
Another year, another batch of outstanding EPs! I personally have a strong affinity for releases of the short, concise, and otherwise succinct persuasion, and so my weekly listening is often informed by what new EPs have dropped. The following includes those that made a significant impact and stuck around in my rotation. This list--although perhaps a term such as "loose collection" or "heap" would be a better choice--has not been trimmed or edited to meet a specific quantity. I just kept adding stuff until I hit 23 entries, which felt like an appropriate number, and so here we are. Like last year's extravaganza, this list features a bunch of different genres but is not sorted by genre. My year is defined by eclectic listening habits, and while my albums lists will be divided into hip hop and metal for sake of reading convenience, no such editorial courtesy is reflected here. And lastly, this is utterly unranked. If something appears here, please know that it comes highly, highly recommended. Without further ado, let's dive in! 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 dreamy single worth checking out.  Written by: The Administrator If there's a single constant here at ye olde Sleeping Village, it is that I will inevitably devour anything that spawns from the creative universe of Richmond's own Jason Roberts. Besides being the mastermind behind Breaths--a band that I enjoy quite a bit, as evidenced by our multiple track premieres over the years--Jason has since started a new band with a pitch that is frankly tantalizing: "somei blend shoegaze and dream pop elements with doom and sludge metal in a way that is accessible and refreshing." I'm pleased to report that said concoction of genres is, indeed, as accessible and refreshing as promised. somei have two tracks available, with today's single in question being my favorite of the two by an admittedly narrow margin. "barbarella (melt away)" brings some doomy yet unconfrontational weight in the riff department alongside a now-trademark vocal levity, both of which serve to cast a dreamy haze--or perhaps glow--over the track as a whole. Whereas most bands that dabble in the realm of doom and sludge tend to feel intrinsically earthbound, somei leans into the ethereal, evoking the feeling of floating through cloudy skies in a hot air balloon. Outside of overtly shoegaze-y projects such a Slowdive, the closest point of comparison I have might be something like Hum, if they traded a certain sense of grounded stoicism for a more blatantly delicate tone. Despite the gentle vocal delivery, there's a uniquely somber vibe at play, like I'm sipping the nectar of melancholia. In terms of the track itself, the chorus is hooky as hell, and the track ramps up the heavy riffage towards the end for an outro that leans into the heft. While not typically one who watches music videos, the video for this particular track does reflect that doleful tone quite well through striking use of purples and yellows. I highly recommend watching/listening, the video truly does elevate the experience. While I do wish somei had more tracks available at this point, I'll certainly be giving this track (and its companion b-side, the excellent "Shaken") some quality time in rotation. 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 the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here, we discuss a redux of a very fine track from a very fine band.
Written by: The Administrator Gosh. I love when a band issues a remixed and revitalized redux of an older track, and I particularly love when this very same scenario occurs with a track that I love from a band that, indeed, I love. Mothman and The Thunderbirds is a project that this particular scribe has enjoyed greatly from inception, and I'm firmly of the mind that everything under the Mothman moniker is exceptionally well done. 2021's debut Into The Hollow embraced a willingness to explore, and everything since--the (objectively perfect) cover of "96 Quite Bitter Beings," the dynamic split with World Eaters, the trippier "Gazer" EP*--continue the trend of good music that doesn't feel particularly confined by anything other than the quality of that which came before. So, then. Into this equation enters a redux of, arguably, one of my favorite tracks from Into The Hollow, featuring the remixing and remastering chops of Egor Lappo. "The Simpsons = Real Hollow" is an anomaly in the midst of the original tracklist, as guest vocals are provided by Kirby, wife of project leader Alex Parkinson. Promo material calls said vocal performance "soaring" and "sardonic," both apt descriptors. I would add "youthful"--not unrefined or adolescent, but rather filled to the brim with the kind of jubilant enthusiasm that feels almost impossible to contain. The original featured excellent vocals, and the redux'd version truly allows Kirby's voice to shine, contrasting wonderfully with Alex's bellowed backing interjections while sitting nicely in the mix. The chorus is catchy as fuck. Otherwise, the new version feels crisp and clean across the board. Alex's new bassline pummels with significantly more oomph. The track's rockin' central riff carries itself with the same familiar momentum--an urgency that doesn't quite let up, lending the whole track an energetic edge. This is the mix/master that the track deserves, and another testament to the quality of Lappo's work. As mentioned in our review of "96 Quite Bitter Beings," this outsourced production adds a notable level of polish. It sounds great. 'Nuff said. Mothman and The Thunderbirds - "The Simpsons = Real Footage (2023 Redux) was released Sept. 22nd, 2023, and can be found here. You can also listen below! How convenient is that?
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 the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here's a mini-review of a delightfully slimy death metal EP.
Written by: The Administrator
The roster of underground death metal bands that deserve more attention is nigh-infinite, and while underappreciation is inevitable, everyone needs to stop sleeping on Cork's own Bodydrinkers. In an attempt to remedy this scenario, we slumbering scribes try our hand at rousing the masses. Wake up! Plug this into your earholes! A mere three tracks, Swamp Hammer is nonetheless a beast. The titular track kicks things off with glorious belligerence, a churning muscular barrage accompanied by an engaging range of vocal delivery. The riffage roils with pythonian strength, and while delivering an effective bludgeoning, the track does not overstay its welcome. My personal favorite track, the follow-up "Byzantine Blinding," opts for a slower yet no less pugilistic angle. The vocals here are truly monstrous, and play inordinately well off the massive surge of instrumentation. Closer "Bio Terroristic Occult Sermon" threads the needle between the two extremes, delivering a slightly more grindy and unhinged take on Bodydrinkers' apparent trademark aggression. The variety presented herein is quite enjoyable, and the short runtime simply isn't enough. I crave more. Given the EP title and slimy descriptor, I was admittedly expecting a little more sludgy lumbering and dripping riffage, but as a fan of the mire, that's on me. What we get instead is top-notch stuff, no bones about it. Swamp Hammer is delightfully aggressive and takes no prisoners in the sonic bombardment department. I highly recommend checking this one out! Listen here and snag a tape from (the illustrative) Fiadh Productionshere. Bodydrinkers - Swamp Hammer was released January 20th, 2023 (Digital) and June 2nd, 2023 (Cassette) via Fiadh Productions
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 the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here's a mini-review of an aggressive and crushing and seething EP.
Written by: The Administrator
There are several trigger phrases existing in the world of music promo that activate a deep and primal need to drop everything and listen immediately. One such heretofore unknown phrase is the dangerous "FFO Napalm Death/Godflesh," which Noosed unsuspectingly dropped in a brief message in regards to their new EP. Consider this particular agent activated on an immediate basis. I don't even have time to allow the headphones to connect; you already know I'm playing this shit through the phone speaker. Let's fuckin' go. Noosed play an abrasive and intrinsically violent conglomerate of noise, grind, crust, and sludge. There's a massive presence to the low end that feels oppressive on the basis of mere proximity. The riffage grinds with the sheer heft of damp cement. The percussion stomps forward with a grim intensity, like unto cast-iron industrial revolution machinery gone rogue. The vocals are raw and belligerent, yet tinged with a nihilistic sense of despair that lends an overall nuance to the project. The use of vocal samples is also a huge strong suit when it comes to driving home the thematic overtones. Although brief and fairly blistering, OMEN bludgeons with a sense of somber nuance. It's not industrial and it's not sludge, but it does a damn good job at sitting uncomfortably somewhere betwixt the two. Of course, OMEN is far from polished. That's arguably the crux of the project's inherent charm. There's a tangible rawness and strain seeping from these four-tracks-plus-an-intro, and that undiluted emotive weight certainly strikes a chord. Not an easy listen per se, but one worth immersing yourself in. Noosed - OMEN was released may 5th, 2023. Find it here! 
Written by: Continuous Thunder
As a self-proclaimed aficionado of slow metal here in the Village, I find sludge metal to be one of the more intriguing sub-genres. While it’s often described as a combination of doom metal and hardcore punk, the application of those influences can vary widely from artist to artist. Naturally, this leads to a diverse pool of artists that can be described as sludge. How else would you end up with bands like Melvins and Isis under the same umbrella? I’m not usually one to stress over the minutiae of hyper-specific sub-genres and when it comes to sludge, I tend to trust my ears and I know it when I hear it. All that being said, They Grieve bring some heavy sludge. 
Written by: The Administrator
The esteemable Heron are a perpetually underrated gem, and a band that continues to make its mark on our ink-splattered populace. Back in the primordial days of ye olde Sleeping Village, we briefly reviewed their (very good) A Low Winter's Sun, and in the early days of the pandemic, the excellent Time Immemorial received the Volt Thrower treatment and stamp of approval. It's my continuing assumption that everything Heron does is inherently high quality, and this latest album, Empires of Ash, may very well be their strongest and most consistent album to date. If you have enjoyed their back catalog, you'll inevitably find a lot to love with this latest. If Heron are a yet-unknown entity in your rolodex of sludgy post-metal bands, this album makes for a fantastic entry point. |
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