Written by: The Administrator
Here's an established fact: I like WARPSTORMER. Back in 2022, their debut EP Here Comes Hell made quite a mark--as I said back then, said EP "unleashes riffs 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." Needless to say, the promise of a full length was exciting. Their self-titled debut LP came out last November, and, in classic fashion, it's taken me a very long time to actually write about it. Apologies for tardiness, etc. etc. WARPSTORMER plays a potent blend of stoner doom and thrash, a combination that feels simultaneously vigorous and sludgy. While the doomier stoner elements do frequently take center stage--the thrash is often more apparent in the roaring bombast than shredding speed per se--this album is notably forceful. WARPSTORMER feel like the bastard lovechild of High on Fire, The Sword, five gallons of diesel, and some high-octane guzzoline. And, while big punishing riffs often lead the charge, there are enough progressive and (dare I say?) cosmically inclined psych moments to lend the songwriting an expansive quality. With the exception of some very nice cleans that shine in the back half, the vocal delivery, which is raspy and striking in equal measure, fondly reminds me of the punchiness of Black Royal. While never unhinged, very little here feels overly restrained. WARPSTORMER is a powerful band, and isn't afraid to show it.
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Written by: The Administrator
One of my most-listened EPs of 2020 was Deserts of Mars' stellar Return From The Void, an eclectic and addictive 5-track project that effectively consumed my listening habits for the better part of a year. I'm fairly certain that these tracks are permanently and physically etched upon my brain, and I ended my (very extensive) review by predicating that I would inevitably be listening Return From The Void until the band released something new. Little did I know that new music from the Mars camp would be a loooong time coming. But! I am happy to report that Deserts of Mars have successfully maintained a prominent position in rotation whenever the urge for some familiar stoner metal hits. Which is, y'know, quite often. I am also happy to report that the mighty Dead Planet Exodus, released independently on Oct. 18th, was well worth the wait. Self-describing their hefty and irresistible style as "Mars Metal," Deserts of Mars exists in a fuzzy and occasionally tempestuous zone between stoner rock, grunge, doom, and a little trad metal attitude strewn about as well. This thing is loaded up with hard rockin' riffs and sci-fi flourishes galore, and immediately establishes a well-defined interplanetary aesthetic--not cosmic per se, but rugged and dusty. This is a concept album through and through, with the interwoven crash-landed-on-an-hostile-alien-planet storyline proving an engaging and consistent framework. And not to be overshadowed by the narrative, the music itself is likewise engaging and consistent. If you're looking for a brief review: Dead Planet Exodus is a wonderful album that successfully builds a world and capitalizes on pent-up potential, and I have very much enjoyed spending time with it over the past few months. If you're looking for a significantly longer review: I've got you covered. Read on below! 
Written by: The Administrator
Thrash-infused sludge with a bombastic pep in its step? Dragged-through-the-muck production and tasty gang vocals to boot? We're dealing with an oddly specific category here, but you can count me all the way in. Please. Please count me all the way in. I need this. Earthblood are a new-ish quartet out of Finland, and the inflammatory Witchburner is their second EP. I was impressed by their debut outing released last September, but this sophomore effort feels like a significant step up both in terms of songwriting chops and production value. With only 3 tracks filling the 17+ minute runtime, the songs are quite girthy, incorporating both a slow-burning sludgy stomp and a thrashy drive to be the most cathartic band in the playlist. Earthblood are confrontational and dirty, seeming to take a certain glee in forcibly forging their own path by way of rowdy riffage and gravel-gargling roars. In a word, Witchburner is energetic to a near-jubilant degree. There's a vigorous bounce and groove at play--check out the hellishly fun "Sons of Heavy Pain" or the exciting chorus on the title track as prime examples. When things do slow down--take the mighty closer "Swamp Hammer," for example--the lumbering pace serves to build anticipation for the burly violence that inevitably returns. If I do have any minor criticism of this EP, it is that said closer does run a tad long. But that doesn't negatively impact the overall takeaway: music like this makes me want to light my beard on fire and smash a bunch of shit with sledgehammer. Y'know, for fun. 
Written by: The Administrator
What, dear reader, is more classically and quintessentially Sleeping Village Reviews behavior than dropping a review for an album that came out more than 12 months ago? I mean, come on. This is embarrassing. We slumbering scribes are notoriously--and demonstrably--bad at finishing stuff we started, but instead of letting this half-completed writeup die in the drafts, I thought it would be worthwhile to revisit and finally complete. Needless to say, I apologize to Bog Monkey for the extreme tardiness. This album is very good and merited a more prompt review. In any case, better late than never, I suppose. So. Bog Monkey. A fuzzed out and swampy doom/sludge/stoner trio out of Atlanta. They released their debut album back in early March of 2023, and I consider it to be one of the better exemplars of the genre released last year. It also features one of my favorite album covers of 2023--purple swamp, simian skeletons, and ooze is an aesthetic holy trifecta as far as this scribe is concerned--but that's another story. The music itself is pretty damn addicting, and notably feels quite unique in a world where a new stoner doom band seemingly pops up on a daily basis. Bog Monkey's homegrown concoction utilizes a little hardcore attitude and a lot of garage-esque grit. They almost seem to be a noisy homegrown rock band disguised as a doom outfit, and as a result their songwriting relies more on hard rockin' fun than a more straightforward or predictable stoner vibe. 
Written by: The Administrator
Doom and thrash might not be the most common (or expected) bedfellows, but there's a certain appeal to the confluence of, say, Motörhead's breakneck bombast and Sleep's fuzzy weight. On their debut 4-track EP–Thrice Majestic, for those taking notes–LA's own The Cimmerian taps into the implicit speedy thrust and plodding gravitas of component genre parts, riding the pendulum betwixt the two with a delightful barbarism. The tracks herein do an excellent job of maintaining variation in terms of sonic makeup, which makes avoiding a track-by-track analysis difficult. It also makes selecting a favorite track near-impossible, as everything feels fresh and essential to the overall picture. In that spirit, let's dive right in! 
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. |
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