|
Welcome to another edition of DEMO(LITION) DERBY, a regrettably infrequent column dedicated solely to demos. Existing for the sole purpose of bolstering our underground cred since uhhh 2024! If you like reading about demos, check out a previous review here.
Written by: The Administrator
It's been a long while since we've hosted a good ol' demo(lition) derby 'round these parts, and not for lack of material. However, rather than covering any of the delectable morsels currently circling the scummy surface of the promo pit, I felt moved to revisit something sludgy from the primordial days. Back in 2018, when ye olde Sleeping Village existed as a mere Instagram page, I briefly reviewed Slother's first and only project to date. Originally entitled Demo 2018, this 19-minute 4-track release was renamed to MMXVIII a few months later when From The Urn picked it up for a cassette release. The album cover aesthetic is a pretty serviceable hook, but should you require a succinctly accurate descriptor in written form, Quebec City's Slother delineates their sound thusly: “damp riffs.” For a batch of songs evidently discovered in the depths of the St. Lawrence and thrust into mildew’d service, this seems pretty damn accurate. Sopping aesthetic notwithstanding, Slother deals in an obtusely visceral blend of slasher sludge and hefty doom. The riffs are colossal and plodding and violent, often serving as an impenetrable sonic shroud. In terms of tone, the project is defined by an excess of thick fuzz, but while some bands utilize fuzz to create a warm and enveloping environment, Slother revels in grimy suffocation. An occasional lead worms its way through the fray, but the heft of the rhythm is the primary draw here. And, if all this ain’t enough to wet your whistle, the leisurely harsh vocals should seal the deal. These roars and bellows on display, courtesy of one "Pick," are languorously massive. I'm also a fan of the rare inclusion of a vocal sample--"Skrimshaw," for example, fires off with Bush's confident assertion that "the human being and fish can coexist peacefully." While they do appear to be active, judging from some minor activity on social media, I'm sad that Slother haven't released anything since this very promising demo. Or perhaps they are merely taking their sweet time? A slothful approach to songcraft feels apropos, but in the meantime, I yearn for more. Slother - Demo 2018/MMXVIII was self-released May 17th, 2025, and Sept. 2nd, 2018 on CS via From the Urn. Find it here
0 Comments
Written by: The Administrator
When it comes to jazz rap in the modern era, McKinley Dixon quite simply has no equal. His stellar Beloved! Paradise! Jazz!? handily made my Favorite Albums of 2023, and I'm pleased to announce that this follow-up is an even clearer distillation of his uniquely vibrant style. Indeed, the Chicago rapper has only grown more competent when it comes to imbuing his projects with seemingly effortless fluidity and lushness. The live instrumentation feels profoundly alive, relishing in a bold and organic eclecticism. On the title track, for example, jazz guitar flirts with sparkling flutes, chaperoned by scintillating sax. It feels like a whole lot is going on, but somehow the underlying boom-bappy vibe keeps it grounded. Elsewhere, clean piano communes with brash brass, riding funky bass and crisp drums. The percussion is particularly exciting, continuing infusing tracks with an exciting energy. Some tracks are dusty and pattering, some are overtly growling and menacing. Some lean into the wailing lamentation of the saxophone. Some are almost overpoweringly bright and colorful, like unto listening to music through a sun-drenched prism.  Written by: The Administrator
Why am I writing about Breach, the latest album by Twenty One Pilots, a band I have never discussed on this or any other platform? The answer is simple: I like this album. I like it to a fairly unexpected degree, in fact. I usually save Twenty One Pilots for an afternoon listen on release day, but as of 8:30am on Sept. 12th, I was already knee-deep into the second listen. As such, Breach certifiably has the intrigue factor locked and loaded. It has been in frequent rotation since release, and at least several songs qualify as high-caliber earworms. I've enjoyed Twenty One Pilots for their conceptual cohesion and vision, and any ill will harbored has pretty much been wrapped up in the presence of white-boy-rapping. Which, in prior releases, felt very, erm, of-the-time. Here, I'm pleased to say, the white-boy-rapping is much better integrated than previous efforts, and at its most overt it feels self-referential enough that I'm able (or perhaps willing?) to see the bigger picture. Either that or I am more desensitized, which doesn't entirely likely. In any case, Breach definitely presents some interesting juxtaposition of styles from across the Twenty One Pilots sonic spectrum--in the past I've found these seams jarring, but for whatever reason everything flows better here. From power balladry to maximalist pop rock to artsy indie, nothing is particularly new, but the combinations of aesthetic are often interesting.  Written by: Blackie Skulless
Preamble: there are far more qualified candidates to discuss Helloween than me. I touched on this when discussing Helloween four years back now (Jesus, time, please slow down), and the arrival of a new album after a softer stance on Europower metal just had me so excited. Despite my lack of expertise, I truly appreciate everything about this band. They have their obvious classics that I adore, they have their strong-tier records that work better for the genre fans, they have their weird deep cuts, and they have stuff that’s all around forgettable. Through it all, they’ve held this image of a spooky outfit that loves dark overcasts and scary subject matter, but have always felt, in the end, like they’re a friend here to keep you safe. Since the time of Alice Cooper, rock villains were opted for more and more over rock heroes, especially as the music got heavier and the themes got darker. Helloween is one of the unique examples that presents itself as one but executes the other, since inception over forty years ago. Despite what the surface reveals, they are friends, not foes, a la Demon, KISS, Lucifer’s Hammer, or Haunt. We approach their seventeenth album (nineteenth not ignoring covers/rerecordings), and Giants & Monsters miraculously still feels so fresh; for that, I thank Kiske, Hansen, and everyone involved. 
Written by: The Administrator
I know you're here for the kickass music, dear reader, but allow me this brief preamble. As a so-called "big feeler," I tend to experience emotions in a fairly extreme sense. There exists insufficient equilibrium 'round these parts: happiness trends towards ecstasy, sadness is crushingly morose. Emotions are a lot to contend with, and, as such, I spend a lot of time with art that grapples with emotional extremity. I seek out music that explicitly explores and captures the essence of a particular feeling. I am also drawn, consistently and magnetically, to the musical output of one Alicia Cordisco, riff-queen extraordinaire. I've been a huge fan of her work since bearing witness to Judicator's classic run, and have followed her musical output with a certain zeal ever since, be it the bombast and adventure of Project: Roenwolfe and Justicar, the righteous death/thrash fury of Transgressive, or the epic funereal strains of Wraithstorm. No metal genre has yet seemed beyond her reach, as evidenced by this new excursion into the dark-lit mire of black metal. The Burden of I melds an old-school blackened bite with somber atmosphere and a whole lot of melodic inclination. It is an album that displays its emotional current openly: in the description, Alicia writes that The Burden of I contends with her "struggles with isolation, identity, trauma driven despair, and ultimately a reason and purpose to keep going." In other words, when it comes to my particular interests in music, The Burden of I promised to represent the perfect storm. The project's potential alone was enough; I was hooked before hitting play, and wasn't worried in the slightest about the execution. After all, if I know one thing about metal music, it is this: Alicia Cordisco executes. 
Written by: Blackie Skulless
With each passing year comes another Haunt record, and considering we got one this year closer to fall, it may be safe to say this is the largest gap between records. Dreamers early last year marked the first significant shift in sound since several albums prior, a much needed adjustment to avoid stagnation. An obvious lean into a dreamier sound was present, but I would argue that now we have a full record that gives itself into that entirely. Ignite is the name, also our first record to touch ten tracks without the inclusion of re-recordings. Thus, one should go into this expecting the similar makeup of no lax in terms of melodic and weighty riffs with a softer overtone. This time, the emphasis is cast harder on the latter, making for a larger dose of songs I’d go as far as calling “pretty.” Weirdly, this is done without the need for synthesizers (and if they’re present, I certainly didn’t catch them). An instant favorite was “Soaring Through The Ages,” using cleaner vocal and lead guitar combos for a sweeter taste tied off with a catchy chorus. The title track works this in with a softer center, utilizing clean tones, and “Early Grave” has such a somber feel to it, which also opts for a cleaner exit. Hell, closer “If I Said Goodnight” mixes this with an extremely slow crawl, a rare feature for Trevor and Co. that could fit the bill as a ballad.  Written by: The Administrator Yes, I know I don't formally rank my favorite albums of the year, but Let God Sort Em Out is indisputably #1. And yes, I know I don't rate albums, but after much consideration I am considering it a perfect 10. I have no complaints, no unsolicited notes. I am consumed by a radiant admiration for the impeccable execution of the craft. There are zero skippable tracks. Pretty sure skipping is cosmically impossible, in fact. If I get the urge to listen to any track in particular, you know I'm starting at the top and letting the whole damn thing play out. From the emotional "The Birds Don't Sing," to the intimidating swagger of "Ace Trumpets," to the narrative-driven snarling coke rap teamup with Stove God Cooks on (song of the year?) "F.I.C.O.," the Brothers Thornton deliver on literal decades of wordcraft and worldbuilding experience. Pusha T nails a level of intention-setting intensity that has become a bit of a trademark over the years, and Malice's similarly trademark second verses absolutely level the playing field with masterful wordplay and punchy rhyme schemes. He is an absolute force of nature as a lyricist, and his delivery is as pugilistic as they come. Pusha T has always been antagonistic, but at times Malice's tone practically drips with vitriol. Have you ever heard someone say "penne a la vodka" with such force? They both operate with an extremely admirable precision and care, with every single word feeling essential in the greater construct of the whole. They are masters of impact. And that's not even mentioning the glorious pantheon of Kendrick Lamar, Tyler, the Creator, Ab Liva, and Nas guest verses. While Kendrick has received much recognition, Tyler's verse on "P.O.V." is a standout for me--the way he delivers "I need God to play the lead in my biopic" is so unreasonably hard that, upon first listen, I needed to pause the track to refill my lungs. And then Malice drops in like a tungsten rod from God to absolutely demolish the third verse. And lest he be forgot, it's excellent to see Pharrell at the reins of production once more. I swear he's saved his best beats for years, saving 'em and breaking 'em out for the perfect occasion. His drums are striking and vivacious; his sample game succeeds enormously creating dramatic and attention-grabbing moments. I love, for example, the repeated integration of "cuz it's hot!" on "M.T.B.T.T.F." And if you haven't yet had the pleasure of hearing the masterful utilization of Tahal Maddah's "Maza Akoulo" on "So Be It," I highly recommend giving it a listen below. The cohesion Pharell's production imparts upon the tracklist is essential. I mean, I'm still in awe. Let God Sort Em Out is God-tier. What an incredible comeback project on all counts. I wish I had the time to devote a full review to this release. From the extensive backstory to the sheer influence it inevitably carries into the future, it deserves a dissertation. Clipse - Let God Sort Em Out was released July 11th, 2025 via ROC Nation Distribution. Clipse can be found here
Written by: The Administrator
Wait, what's this? Catchy-as-fuck early 00's melodic alt/nu-metal nostalgia...released by the venerable 20 Buck Spin? On the basis of genre alone, I still think this is a weird addition to the roster, but on the basis of quality, Bleed's Bleed absolutely fits the 20BS mold. In my mind, Bleed combines the best of Pulkas-esque angsty aggression and Linkin Park's penchant for absurdly earwormy hooks before filtering 'em through dreamy Deftones textures. But listen to a track or two and you'll inevitably pull your own comparisons. At the end of the day, this is an album that simultaneously feels like an homage and an attempt to modernize a sound that is all to easy to write off as "throwback." The vibe is airy yet moody. Hazy and shimmering. The grooves are as engaging as you might hope, but the project is often defined by atmosphere--it frequently feels like said groove is obscured by gazey gossamer. The true star of the Bleed formula? The vocal melodies, which are wonderfully entrancing, hypnotic, and--dare I say--borderline psychedelic. A potential drawback to this style is that some songs do feel quite comparable from a vocal perspective. That said, as a huge fan of what Ryan Hughes is doing here with his ethereal delivery, I personally find the similar vibe from track to track endearing. The album makes for a very cohesive listen. Nostalgia inevitably plays a not-insignificant role in one's enjoyment of Bleed, but after many, many, many listens, I am firmly of the mind that the songs contained herein slap not because they feel old, but rather because they are great songs loaded with killer hooks. Case closed. I would have enjoyed this album if were released in 2000, but I positively love it in 2025. Badass stuff through and through. If you're looking to sample, I HIGHLY recommend checking out "Through the Cylinder," which is my favorite track off the album and easily one of my most-listened tracks of the year. Bleed - Bleed was released May 2nd, 2025 via 20 Buck Spin. Find it on Bandcamp here! 
Written by: The Administrator
Once more, we bear witness to yet another 2025 rap album that, if released any other year, would have easily served as a strong AOTY contender. The competition this year is fierce, almost unbelievably so. The arena is packed to the brim with viable champions, and the brilliant (albeit confusingly entitled) Lei Keli ft. 47 / For Promotional Use Only has found a comfortable position among my roster of 2025 favorites. And yet, despite demonstrating a clear artistic vision whilst running the gamut from badass bangers to heartfelt introspection, this project has received far less hype than it deserves. Indeed, Leikeli47 has been unfairly overlooked and underrated for far too long. In this era where rappers are lauded for their lyricism, experimentation, and willingness to put in the effort, where are the laudations for Leikeli47? With every release, she only gets better. While 2022's Shape Up undeniably contained some very high highs, Lei Keli ft. 47 / For Promotional Use Only is her most cohesive album to date from a quality standpoint. There's pretty significant variety on display here, with a radiating assurance and an infectious energy permeating the project as a whole.
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 short reviews at a greater frequency, thereby shining our very small spotlight on more cool shit. Without further ado:
Written by: The Administrator
2025 has been an undeniably incredible year for rap, and while this particular collaborative project was one of the first albums of the year to make a splash, I fear it has been largely forgotten in the flood of post-February releases. It's currently sitting within the loose confines of my favorite 25 albums of the year, and after many listens, I'm itching to write about why I enjoy its strangely seamless meeting of minds. So here we are. Given the seemingly distinct lanes Larry June and 2 Chainz have historically operated in, I will concede that on the surface, this seems like an unwieldly collaboration. There is uncommon genius in the oddity, however. An interesting tension exists between Larry June's understated raps and 2 Chainz's often outlandish near-mythical character. The former is an introspective corner lurker, the latter tends to bask in a bombastic larger-than-life persona. I do find that their individual projects have the tendency to lose momentum, but here, when their styles meet in the middle, their togetherness provides a level of intrigue that forces a sense of balance. 2 Chainz has certainly leaned into a more understated delivery; Larry June embraces a little more braggadocio. Both exercise a maturity that feels confident and lived-in. The lyrical substance often focuses on aging in the business, fatherhood, emotional regulation, words of motivation. Grown man raps. And notably, when their verses meet, they do so without a ripple. Nothing is jarring, everything is effortlessly smooth. The album flows. And, lest he be forgot: at this stage in his god-tier career, I'm confident that The Alchemist understands intrinsically how to make any song sound regal, lavish, luxurious, and otherwise heavenly. While the drumless minimalism across the board is generally gorgeous, the integration of the vocal sample in the bold "Bad Choices" in particular is absolutely sublime. The whole project is gloriously nonchalant, occasionally even disengaged...but in a way that feels like "cool and confident escapism" rather than "boring dad rap." If that's not a rousing endorsement, I don't know what to say. Larry June x 2 Chainz x The Alchemist - Life is Beautiful was released February 7th, 2025 via The Freeminded Records / 2 Chainz / ALC / EMPIRE. Find it on Bandcamp here! |
WELCOME!We provide thoughtful reviews of the music that wakes us from slumber. Archives
October 2025
Categories
All
|
RSS Feed