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Written by: The Administrator Here's a rare (but hopefully welcome) occurrence 'round these parts: a music video premiere! For our old-school readers who are perhaps a little skeptical of this more newfangled technology, consider this. It's kind of like a standard track premiere, but your eyeballs get a little piece of the action as well. Today's artist in question is the one-person Fire at the Plantation House. This progressive death metal project explicitly tackles conversations surrounding injustice and revolt, and the realities of contributing to efforts to resist systems of oppression while existing in a position of privilege. Make no mistake: this is overtly and unabashedly political stuff. Thematic content aside, the music itself is engaging and genuinely progressive, very willing to reject convention in favor of the truly unexpected. But please don't take this as mere promotional hyperbole--just glance at the band bio and you'll see mentions of death metal, bluegrass, neo-soul, and sacred choir alongside promises of memorable melodies and mosh-inducing riffs. But enough preliminary blathering--let's cut to the chase, shall we? We're honored to present the endearingly homegrown video for title track and album opener "Southampton Insurrection." Check it out below! As always, we'll meet you on the other side.
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: Brooklyn Artemis
Releasing your first album after over ten years as a band and four years after your last EP isn’t exactly orthodox. But then, you couldn’t call Rough Justice an orthodox band either. Releasing their first demo in early 2012, there were only sporadic releases across the 2010's as members’ attention remained divided. Vocalist James Tippetthas described the band as more of a ‘passion project’ and ‘outlet’ in an interview given to Knotfest. This only became more of an issue when drummer Josh Baines’ other band began gaining more traction and success in the British, then global scene. That band is Malevolence. But after signing to Malevolence’s label, MLVLTD, the Sheffield stalwarts have reached a major milestone. Rough Justice, one of the bands credited with the creation of the current wave of British hardcore, has finally dropped their first full length, and Faith in Vain is everything I hoped for and more. After seeing them a couple of years ago, and eagerly awaiting new material since, these eight tracks have thoroughly scratched that itch. The album feels like a victory lap--an acknowledgment of the band’s raw roots in demos and EPs still only available on Bandcamp, combined with a more polished sound which takes cues from the scene that has sprung up around them. It is bruising, intense, thoughtful at times, and a very strong start to 2024 from the British hardcore scene. In other words, it fucking rips. 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 little one-off reviews that would have previously (and arbitrarily) been deemed too short for publication. Here's a mini-review of a fun lil' summertime single. Written by: The Administrator There's something special about a song released on January 1st--a cold and snowy day at the Sleeping Village, as I recall--that wholeheartedly embodies a feel-good beach bop aesthetic. SoCal rapper Mr. Lil One's new single, featuring Ari Duarte, hits the nail on the head when it comes to summertime vibes. "To The Sky" evokes sunshine, the sound of surf on sandy beaches, the smell of sunscreen and drinks with little umbrellas. Flip flops, frolicking, warm skin. The beat is smooth and bright, providing a little surfy sun-soaked bounce. Everything here is crisp and warm and clean. Borderline lovey-dovey. Complimenting the light mood, Mr. Lil One's lyrics are playfully unabashed, overtly sexual, and occasionally sweet. His flow is refreshingly straightforward and casual. Ari Duarte's chorus feels classic in a way that is more timeless than old-school per se, and her delivery on the last verse is leisurely and comfortable, like a lazy afternoon after a morning in the sun. Clocking in under three minutes, the song is short and sweet--nothing more than it needs to be. I dunno about your particular locale, but it is cold and dark 'round these particular parts, and tracks like "To The Sky" are a welcome addition to the playlist. Check it out below! Mr. Lil Uno (feat Ari Duarte) - To The Sky was released Jan. 1st, 2024
Written by: The Administrator
As a pseudo-mediaeval scribe raised off the grid, I wasn't exactly allowed video games at home as a child. However, if I saw Epilogue's artwork gracing a PlayStation disc at a friend's house, I would have, without a doubt, been suitably enraptured. Look at those colors! The implied sense of movement and perhaps, if you use your imagination, even a little chaotic violence! The allure is strong. Judging the book by its cover aside, I am familiar with 18 Slashes' game. 2023's excellent Jawnnobyl was a dark synthwave masterclass as far as I'm concerned, and ended up taking the crown as my favorite electronic album of the year. Created as the soundtrack for a game that does not exist, and admittedly operating at a much higher bitrate, every 18 Slashes release is nevertheless imbued with an endearing nostalgia. Stefan Schneider has found a delicate balance between explosively frenetic fun and a specific yearning for the irreplicable childlike glee associated with experiencing a new game for the very first time. Anyways, this was originally going to be published as a mini-review, but I have far too much to say. Let's blow away the word count parameters and just go for it, shall we? ON THE HORIZON: Madame Frankenstein - The Eyes Of The Mountain Are Mine (Brazilian Stoner Doom)1/3/2024
Written by: The Administrator
Given our newfound sense of productivity here at our humble slumbering township, it is high time, methinks, to bring back a frequently forgotten Sleeping Village feature. That's right, dear reader. It's time once more for On The Horizon. Not a review per se, nor an album announcement, but rather a third secret thing that lurks awkwardly betwixt the two. Today, we gaze towards what appears to be the second full length from Brazilian stoned doomsters Madame Frankenstein. I heard (and quite enjoyed) their debut album released last year, which served as a collection of loose singles and EPs dropped throughout 2023. The bluntly entitled Doom brought a familiar fuzzy approach alongside some thin and filtered vocals that served well to exemplify the detached psychedelic vibe. The general aesthetic presented in their cover artwork across the album and singles was quite nice as well. Doom demonstrated some notable promise in a subgenre that has no shortage of fresh blood, but regrettably seemed to have missed the press circuit--I was a little surprised to see so few folks in the stoner doom scene talking about Madame Frankenstein. In any case, February of this year will see the release of a new six track project entitled The Eyes Of The Mountain Are Mine. I'm hopeful for a little more deserved fanfare this time around.
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 one of Hus Kingpin's many, many 2023 releases.
Written by: The Administrator
The tree has, alas, been discarded. The strands of light coiled in storage. The stockings haphazardly--carelessly, even--crammed in a drawer. Despite a distinct lack of holiday decor 'round these parts, I'm not ready to let go of that alleged magical Christmas spirit quite yet. Hence today's spotlight on Holiday Hus 2: Cocaine Christmas. This seasonally appropriate soundtrack, courtesy of the ridiculously prolific Hus Kingpin, provides a short and sweet lingering taste of the most wonderful--scratch that--worst time of year. Featuring no features and seven tracks across a delightfully brisk eight minutes, this project shows Hus Kingpin's characteristically confident raps over some tastefully dusty, chilly, and occasionally eerie instrumentals. Hus eschews hooks and classic song structure in favor of quick coke rap snapshots, giving the whole affair a laissez-faire and airy feel that contrasts wonderfully with the subject matter. It's a fun juxtaposition, and he plays into the implicit humor of the contrast--the entertainment factor is high. Had I heard this prior to publishing my EPs of the year list, it would most certainly have made the cut. I've had this on repeat for the past few days, and it has yet to grow stale. If forced to pick, my favorite tracks herein are the debonair yet somber "Fireplace" and the calmly menacing narrative of "Snow White." With that said, every song here, including the intro and outro, are absolutely worth your while if you enjoy--casually or otherwise--the allure of underground hip hop. Despite already dropping two (!) additional projects since this EP was released, Hus has another new LP coming in just a few weeks. Before the next in a looooong line of quality releases arrives, I recommend checking out this one out. Listen below and find it here! Hus Kingpin - Holiday Hus 2: Cocaine Christmas was released Dec. 15th, 2023.
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 debut death metal single.
Written by: The Administrator
It is always an honor to be present at a band's genesis. Here we sit, witnessing the birth of death metal quartet Slaughtersun's very first single. Despite the debut status, "Fall of the Firmament" feels like the product of an experienced crew, which only stands to reason given the roster. Both founder Ben Karas of Windfaerer and Cody McCorry play in prog rock band Thank You Scientist, while Jason Quinones of Tombstoner and Justin Hillman of Cranial Damage provide cred of the more overtly brutal variety. Slaughtersun plays energetic and otherwise adrenalized death metal. On "Fall of the Firmament," the drums are lively and driven. The riffs are barreling in an off-kilter sense, belligerent by means of crisp ferocity if not crushing heft. The solo lends a little squirmy electric energy. The aggressive and snarling vocals hit a nice balance--they are coated in the requisite grit and rubble, but the lyrics remain largely decipherable. The urgent delivery is interrupted for a brief moment wherein a filtered spoken word piles on the old-school melodrama, which was initially a little jarring but upon revisitation fits the mood quite well. After a quick foray into more mid-paced waters, the track closes out with some borderline vertigo-inducing aggression. All told? "Fall of the Firmament" serves as a strong introduction to a band that is undoubtably worth keeping an eye on this year. Give 'ema follow! Slaughtersun - Fall of the Firmament was released Dec. 29, 2023. Find it here!
Slaughtersun can be found:
Official website
Written by: The Administrator
Yes. I can confirm that the rumors are true. We inksplattered inhabitants of the Sleeping Village's drafty scriptorium are, indeed, a bunch of big nerds. If a band backs their conceptual premise and presence with a lil' academic garnish, my interest is piqued. Enter Sublation. Great music aside, this Philly duo--who are responsible for 2022's outstanding The Path to Beldam--has the distinction of making death metal that feels clever. While many bands that choose to explain the thematic undercurrents of their work often feel like they are overcompensating, the ideas that inform Sublation's work are truly thought-provoking. Beyond that, the conceptual structure feels integrated and essential to the music itself. It doesn't get much better than that. If you are one of the (glorious, godlike, exceptionally well-read) few who checked out my list o' favorite 2023 EPs, you're likely already aware of my overall thoughts on the appropriately entitled On The Advancement of Decay. In interest of leveling the playing field, here's my conclusion in advance: I really like this project. It is clever, it is unique, it presents a cohesive voice. The individual songs are highly enjoyable on their own merits. The lyrics are some of the best in the business. Above all, this release is immaculately crafted--it is more than apparent how much care went into the final product. |
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