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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 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?
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Written by: The Administrator
It's been quite some time since today's project in question was released, but god-tier stoner riffs are always gonna get the time of day 'round these parts. Moreover, when they are this damn enjoyable, you can bet your ass they'll be stuck in rotation for a good long while. When it comes to god-tier stoner riffs, the subtly monikered ROBOT DEATH MONKEY have decidedly got the goods, delivering a cheekily flippant EP with rough 'n' tumble component parts aplenty. Intergalactic Party Powder is chock full o' groove, a crude sense of humor, an apparent love for the swagger of Orange Goblin's catalog, and a healthy dose of Neil Fallon's phlegm nasty sneer. The riffs are big. The attitude is off the charts. Let's party. 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 swampy single worth checking out.  Written by: The Administrator There's a lot that I love about the intrinsic qualities of stoner doom, but perhaps my favorite aspect is the fairly constant relationship between quality and simplicity. More often than not, stoner music striving to complicate the formula loses me, whereas the tunes that stick to a core motif with a grimy dogged stoicism tend to win me over. Despite a catalog only boasting six tracks, Chatanooga's own Dope Skum fall soundly into the latter category. They know their strengths, they play to them. Their tracks aren't overly complex, and that's the damn point. This new single, "Folk Magic," is the first new music from the Appalachian trio since the release of their debut EP in 2020. While several of the tracks on that project felt slightly long, I quite liked Tanansi, and was excited to see something new from the Dope Skum camp hit the ol' inbox. And let me tell ye: if you're in the mood for some swampy fuzz, "Folk Magic" will hit the damn spot. This is a great track. Plain and simple. From a riffcraft perspective, the comparisons are honestly fairly endless, but in my mind, Dope Skum's approach particularly recalls the heft and organic appeal of Bongzilla. There's a tangible weight behind the bluesy central riff, a plodding-through-the-mire. An homage to a long Appalachian tradition of generational folk magic, the track itself has a very strong sense of place, pulling both from the grounded instrumentation and the atmospheric cicada-laden intro. The vocals, which are bellowed more than sung, stick to a single simple refrain of the track's title. It's a simple approach but, illustrating the aforementioned tenet, one that succeeds mightily. One does not need a hooky chorus when repeated howls of "Folk Magic!" serve, in and of themselves, as an earworm of significant proportion. I can only hope that "Folk Magic" serves as a harbinger of more great music from Dope Skum. Give it a listen and consider snagging it from bandcamp here! FRESH MEAT FRIDAY: June 17th, 2022 Feat. Void Witch, Trocar, Valley of the Sun, and Inexorum6/17/2022
Every Friday, a wagon arrives at the Sleeping Village’s crumbling gates, stuffed to the brim with our 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 of our choice picks 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!
This Friday, Bandcamp is holding their third annual Juneteenth fundraiser, where they donate 100% of their cut of sales to the NAACP Legal Defense Fund. Win/win! On the docket for today, June 17th, 2022: Void Witch, Trocar, Valley of the Sun, and Inexorum
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 an excellent cover track.
Written by: The Administrator
Holy shit, I really dropped the ball on this one. The mighty Mothman and the Thunderbirds releases a certifiably sick cover track and I don't react for, like, nine months? Better late than never, I suppose, but this is pretty embarrassing. In any case. While I'm not a huge CKY fan per se, no one amongst us can deny the sheer catchiness of their debut single. Indeed, "96 Quite Bitter Beings" contains, somewhat devilishly, one of the singlemost infectious riffs of all time. Stack it up against any of the common suspects, I don't give a damn. Listen to the OG intro once and it is stuck in your head for the better part of a decade, bopping around with wild and persistent abandon. Rather than letting a righteous earworm die, Alex Parkinson takes that very same riff and dives right in, unleashing it once more in all its jubilant glory. This track has bounce and pep, and with production in the capable hands of Egor Lappo, the guitar is crisp as ever-living fuck. From a production standpoint, this sounds significantly more polished than the (excellent) Into the Hollow. Despite my affection for the band's sludgy origins, I love how fresh and clean this cover sounds on the first half, where it does not deviate particularly far from the original track. That said, the back end quickly floods over into increasingly metallic environs, with rolling drums and a general stompiness that utterly craters CKY's milder vibes across the bridge. Regardless of whether or not you hold "96 Quite Bitter Beings" in the the same nostalgic shrine dedicated to MTV/Pro Skater aesthetic of the very early aughts, this cover is worth your while. Mothman and the Thunderbirds has improved on the original solely by benefit of intriguing and climatic composition, and the stellar musicianship and production don't hurt either. As an homage and a reinvention, it is excellent. Check it out here! Mothman and the Thunderbirds - 96 Quite Bitter Beings was released Sept. 28th, 2021
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 sweet, sweet bandcamp find.
Written by: The Administrator
People are always rattling on about the sophistication and the benefits of Spotify's discoverability algorithms, but I'm gonna be real for a second: if you are willing to put on a good pair of boots and go wading through bandcamp genres tags, you're inevitably gonna find some damn good shit. Case in point: today's album in question. I wanted some dirty stoner metal to sooth my troubled soul, and after a brief period of sifting, Electric Cult's appropriately entitled Fuzzeremony fell into my waiting arms. Sometimes it's simply that easy. On their second outing, Mexico's Electric Cult nail a delightful balance between scuzzy and fuzzy. Fuzzeremony consists of three tracks proper and a atmospheric intro, and across the album's swampy expanse, sasquatchian riffs and alternately melodramatic clean and throaty vocals plod a treacherous path through the murky mire. The doomy riffage is simple but catchy as all hell, and the rhythm section holds it down with a solid (and occasionally raucous) presence. The vocal refrains are relentlessly earwormy--take the wonderful chorus of standout track "Warlocks Of The Mangrove," which lends significant credence to the track's 6:46 runtime. The same catchy quality can be applied to closer "Rotting Beneath The Sun," which remarkably feels far shorter than its sizable girth might suggest. While the aforementioned tracks are highly memorable and maintain an energetic sense of momentum, "Temple Of The Crow" is slightly less successful in this regard. The riffs are hefty and the vocals aren't too shabby either, but the number of ideas presented simply aren't enough to carry the track for the entire length without distractions taking root. That said, the sheer quality of the bookending tracks lends Fuzzeremony, as a whole, a high degree of replayability. I've had this thing on repeat for the better part of two hours, and at this rate it has sufficiently oozed its way into my brain. In short? This particular bandcamp foray has been quite the success--Electric Cult hath been uncovered, and their prior EPs await my immediate attention. If you're in the mood for some stoner doom, you could certainly worship at a lesser altar. Electric Cult - Fuzzeremony was released April 30th, 2022 via The Swamp Records, Satan Monolithic Records, and Ruidoteka Records 
Written by: The Administrator
I love when the comments under a release on Bandcamp demonstrate a unified point of view. In the case of Here Comes Hell, the debut 4-track EP from WARPSTORMER, that point of view across the listening base is pretty damn clear. In a word: this thing has riffs. Riffs on riffs on (dare I say) more riffs. As it happens, I'm a bit of a riff connoisseur myself, and after listening to this EP for the third time today, I find myself agreeing with the consensus. This thing packs 'em in and unleashes 'em with the confidence of a seasoned act and the haste of a band excited to parade their entire arsenal in a single 20 minutes span. That said, the four tracks here are quite varied. The first three lean in varying degrees towards the thrashier end of the self-described "stoner-thrash" genre tag, and closer "Reap What You've Sown (Devourer)" carries itself with a slower and more melancholic air. WARPSTORMER serve up a very nice mix of elements, and their willingness to shake up the pace and mood demonstrates potential for a wide array of sight and sounds in subsequent work. I certainly hope a full album of this stuff is on the horizon...but let's not get ahead of ourselves here. While the future of the band is indeed exciting, Here Comes Hell deserves time to shine on the basis of its own merits.
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: The Administrator
Despite not having the largest back catalog or most widespread popularity, Wo Fat are one of those rare monolithic bands who deliver with such marked consistency that, as time goes on, their albums seem less like moments in a discography, and more like myths that comprise a greater lore. Their latest LP comprised of new material, 2016's Midnight Cometh, is no outlier. On this no-nonsense affirmation of their core aesthetic, swirling, psychedelic, and pseudo-hypnotic riffage paves the way through a chest-deep swampy ambiance. When I think "stoner," this album rises as a prototypical paragon of the sound and the style. Maybe I'm jaded for thinking it is such a prime exemplar, but so be it. This album simply reeks of smoke. It perpetually sits behind a hazy veil. This is stoner music of the highest order, plain and simple. 
Written by: The Administrator
Proponents of, y'know, not judging a book by its cover: try this one on for size. Look at that moniker. Look at that project title. My god, look at that artwork.* The black lagoon beckons. Prepare thyself accordingly. Bong Coffin's bio states "heavy stuff, we hope." I am but one listener with limited authority as such, but I'm comfortable stating that this is, indeed, heavy stuff. But sheer weight aside: is it good? Aye. And the most solid indication that this is Good Shit? The reality that each of the three tracks herein is my favorite on the project. They are each unique, and surprisingly catchy, and emotive enough to generate a heartfelt kinetic response. As such, Swamp-Kings and Sunken Citadels presents a high degree of replayability. I've listened to this thing quite a bit at a generally inappropriate volume, as any fellow inhabitant of ye olde Sleeping Village can begrudgingly attest. |
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