Written by: The Administrator
I strongly suspect that every single reader of this review will agree that The Recreant is a remarkably easy sell. Alicia Cordisco and Ruby Rockatansky, neither of whom need introduction 'round these parts, join forces to deliver a crusty grindy crossover thrash Transgressive sister/spin-off project. The Recreant promises stripped-down spite, and features an overt Napalm Death reference right there in the album title. I mean...'nuff said, right? I invite anyone to take a deep dive into the bottomless maw of the Sleeping Village's promo pit; you'll be hard-pressed to find a more invigorating elevator pitch. And yeah. Holy shit. The Recreant, I am pleased to say, more than delivers on its implicit promise. Upon first exposure to the gloriously incendiary advance singles, I commented "oh, this goes capital-letter HARD hard." After many, many listens, I can't agree more with this initial assessment. The Code is V... Outlive the Code exudes hardness with a stomping gravitas and a sense of authenticity that simply can't be manufactured. It is sneering and tough in a fashion that feels tangible and profoundly badass. It thrums and erupts with pugilistic physicality. It is the pinnacle of rage, a snapshot of the precise moment that fury transcends. It is outspoken and honest and assertive. It is raw and exposed. It is a throat-rending battle cry, and it goes hard. I cannot (re)iterate this enough. It. goes. so. fucking. hard.
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Written by: Blackie Skulless
Hellripper is so much fun, because they’re another one of those bands that broke early ground amidst my true deep dives into modern and extreme metals, and getting to analyze a band of “my generation” in real time over the years is something that I consider an honor. Or, maybe that’s just my way of coping with the fact that I’m now 30, and I could barely drink legally when Coagulating Darkness came out. Regardless, what matters most is that upon reaching full-length number four, the Scottish one-man show has shown zero signs of stagnating despite playing a pretty safe genre. Coronach is all the more evident of this, with a new and, might I say, far more original logo to go with it. A few years back, Hellripper (smartly) stepped away from the black/thrash basics and evolved into a more black metal focused project. They still worked in many a thrashy chop but ultimately delivered crushing blastbeats, a harsh atmosphere, tremolos, and a vicious flair that abandoned the goat-worshiping safety net of yesterday. Here we get an evolution of that, less so in taking a more “traditional” black metal direction, and more in emphasizing technicality and unconventional writing. In fact, I may even say that the thrash hints even came back a little more prominently, but under proverbial new management. 
Written by: Blackie Skulless
It’s no secret that a couple years ago, Cruel Force rose from the ashes of their former selves and crafted something that truly resonated with many listeners. By tightening up the songwriting and breaking the typical mold of the black/speed predictability, these Germans allowed themselves to stand out far above their peers. This year, Haneda sees a continuation of this evolution, not only on the songwriting front but also in a stylistic way. In many ways, Cruel Force is going the exact direction that they had hinted at with Dawn Of The Axe. A notable feature was that the “blackened” aspect of the last record almost felt like it was being lifted from time to time, matching the injection of melody that didn’t exist as much prior. We see a similar vibe under the misty, echo-tinted production that allows the drums to pop really hard without feeling too raw. In other words, the blackmosphere lingers while other facets that made this fall in that camp fall away. This pairs nicely with the evolved vocals that now avoid anything harsh or raspy so one can more easily call this a full realization of a modern speed or thrash metal record that dodges any generic production nonsense. 
Written by: Blackie Skulless
After Midnight Assassin cemented Sadistic Force as a true, *ahem* force to be reckoned with, and not just another decent black/thrash outfit that checks all the boxes, it does make one wonder how much more they can evolve. If sticking to the same dynamic formula is the move, then the truth is not too much. This didn’t stop the Texans from attempting several steps forward, and if anything, their recent EP of last year is a testament to that. Titled Morbid Odyssey, they’ve taken a similar general idea and cleaned it up a bit, all the while injecting some pretty extreme fervor in several ways. Before even noting the differences in execution, the production alone would have felt like a pivot elsewhere, and I’ll be damned if it didn’t make things sound bigger. Sneaking in melodies and nods to more traditional metal influence is still present, but the drums feel far more ferocious this time around, and the riffs far thicker and marshier. Thus, while I’d still call this a black/thrash effort at its core, Sadistic Force made themselves sound heavier, with more might behind the kicks. It’s like what would happen if you asked a death metal artist to play this genre instead. 
Written by: Blackie Skulless
As what tends to happen, I’ve headed into the early parts of a new year discovering things I missed the year prior. Even labels that I follow closely like Caligari are no exception, as one of their American outfits swung in from out of nowhere late last year. Burning Death are a black/thrash outfit somewhat born out of label-mates Act Of Impalement, sharing two members. Their debut dropped following zero lead-up releases, simply being titled Burning Death. The album art may suggest something different, but the fact of the matter is that this band is pretty straightforward, avoiding any bells and whistles or intricate fluff. Definitely residing on the thrashier end, things stay fast and loose without getting overly chaotic nor feeling underproduced. The clearer delivery under a still blackened hue and gritty vocals definitely gives things the meaner flavor, allowing some room for punk-oriented stomps to fill in the gaps. Such a style wrapped into only eight tracks naturally makes for a pretty short full-length, coming and going before our eyes.  Written by: Blackie Skulless
Considering how much I absolutely hated the previous Megadeth effort, it’s no surprise that I had extremely heavy reservations going into what Dave and co. are calling their final record. Simply titled Megadeth, there is definitely an intentional vibe that makes a statement on its way out. Shortening the runtime, tightening the writing, and simplifying the formula was a great move. This makes room for more memorability in one track than The Sick… The Dying… And The Dead! could have hoped for in an hour’s entire time. For one, gone are the obnoxious samples, overly ambitious aims at technicality that go nowhere, and spoken-word bullshit that sounds like an edgy teenager that discovered war. In place are sharper rhythms that aim for a truly thrash metal sound, hooks that move with purpose, all under a clear dome that allows everything from the rumbling bass to Dave’s snarl to stand out. Thus, this is structurally pretty sound on paper, and I even dig some of the transitions. Swapping from a straightforward verse into the solos moves more smoothly than you would think throughout the album. 
Written by: The Administrator
If you've been reading reviews here at ye olde Sleeping Village for a while now, you may remember (B)Easton Lane, who contributed some fantastic writeups back in our prolific '20-'21 era. He has continued reviewing on Instagram under the moniker LaneListens, and we had for all intents and purposes fallen out of touch...until last October, that is, when a very interesting promo email landed in the inbox. As it turns out, Easton is a guitarist and vocalist as well as a reviewer, and his intriguingly entitled band Trash Compactor has released a self-titled debut EP. While I initially and incorrectly assumed it was slam or brutal death metal band due exclusively to the name, the world of Trash Compactor is a little more extensive. Thematically, the band presents a story wherein we discover a wormhole to a (supposedly) barren wasteland located in another time. This portal serves as a convenient Disposal Pipeline for humanity's waste. I wholeheartedly enjoy the premise of an entire band being based on a singular sci-fi world from the moniker down. From a worldbuilding perspective, Trash Compactor have created an environment rich with narrative potential. And as cool as their unique world is, the music itself is certainly nothing to scoff at. 
Written by: The Administrator
Whelp. Here I am once more, basking uncomfortably in the midst of list season, justifying why my year end lists are published a year behind schedule. If you've been around for a while, please feel free to skip ahead to the good stuff. If you're wondering why I do it this way, here's a brief explanation: I firmly believe that staying power is an important aspect of music appreciation. The ability of a project to outlast the narrow moment in time immediately surround release day is a testament to its quality. In deliberate spite of the inevitable industry churn, I enjoy the process of looking backwards to revisit old favorites at this time of year. But mostly, I started doing this because I got wildly off-schedule and found great value in committing to the bit. This is the way it is, now and forever. If you are at all interested, you can check out my Favorite Album Artwork of 2024 here, and my Favorite Albums of 2024 list will follow at, y'know, some random and inopportune point in the future. So: here are 20 EPs from 2024 that, given significant hindsight, are still my favorite EPs of 2024. They made an impact and stuck around in my rotation, and that's worth celebrating. As per established precedent, the following list draws from the assorted genres and subgenres that interest me, mostly within the sphere of metal and rap. I took some liberties with the "EP" label; some may technically be mini-albums, so apologies in advance. The list is alphabetical and unranked. Everything comes highly recommended. I'd also like to issue a massive umbrella "thank you!" to every artist who contributed to the releases contained within this list. And to you: thank you for your readership of this little music blog! You're very cool and I appreciate you very much. 
Written by: Blackie Skulless
This past Halloween, a Philadelphia act that’s been dropping short releases for a few years now came forth with a full-length. Bastard Cröss are an act that take the relatively safe route of blackened thrash, one tough to screw up but also tough to stand out. If the band name didn’t make its style obvious, certainly knowing that the album title is Crossripper will, however, despite seeming rather on the nose, I think there’s a little more to what’s before us. In other words, don’t shy away from what seems like just more of the same on the surface. Despite the general aesthetic of aggressive artillery baked with speed metal ingredients and harsher vocal shrieks, you also find a healthy amount of defining characteristics with Bastard Cröss. The vocals miraculously stand out well, not only for the addition of death growls and a scratchier sense, but simply with how coarse and grating they sound against the cleaner background. Musically, there isn’t a lot in terms of blasting, tremolos, or atmosphere, opting instead for a cleaner veneer of more straightforward thrash riffs that combine rhythmic strength and a comprehensive finish. Such contrasts in the music and vocals makes for a hell of a combo; this isn’t to say the riffs themselves aren’t mean, but that they’re digestible compared to the frontman’s horrendous outcries. 
Written by: Blackie Skulless
A few years ago, the Polish blackened speed metallers Gallower caught my attention with their short EP entitled Eastern Witchcraft. While it was nothing bad, it wasn’t impressive enough for me to work backwards and look towards their first full-length, feeling somewhat underwhelming. This year, the same label brought a follow-up to both, changing my entire perception. You might say they’re back for a vengeance due to my initial reaction, considering the aptly titled Vengeance & Wrath. One should note, Gallower is still rather familiar in their style and execution, but this time around feels far more complete as an idea, with an emphasis on the metal end of things. Punkier attitudes are now traded for focused leads that don’t let go of the grit but absolutely step up their game in terms of hooks. Moreover, emphasis on witchcraft and spookiness is let up a bit, allowing room for some looks at historical and mythical tints that definitely impacted and matched the sound. Thus, there’s far less in the blackened overlays that came before, maintaining a really gruff presence, especially in the vocals, but ultimately falling out of that camp save for the occasional blast-beat frenzy. It was already faint on former releases as is, and the emphasis on a touch more melody brought things to a steadier apex. |
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