Written by: Loveloth and the Soliloquist
Chicxulub - The Fossil Record is the second full-length album by Norwegian progressive extreme metal band Endolith. In contrast to their debut album that dealt with rather cold, esoteric themes, Chicxulub is a concept album on, as the band calls it, more “tangible” themes: dinosaurs, fossils, and the Chicxulub crater buried under the Yucatán Peninsula in Mexico where an asteroid or comet hit and set off the extinction of the dinosaurs. Whether you want to call these topics “tangible” or not - they are definitely interesting and pretty unique. More on that later. Musically speaking, Chicxulub is a brutal and progressive death metal album with lots of interesting stylistic elements that result in a very unique sound. Featuring the strings of the Arctic Philharmonic Chamber Orchestra, and guest musicians on timpani and solo viola including world famous violinist Henning Kraggerud, the album has a very grand and epic dimension to it, which contrasts and complements the ferocious death metal basis of its sound.
When we at the Sleeping Village got the promo for this album, two of our writers were very interested in reviewing it - Loveloth and the Soliloquist. And since we could not decide who should write it, we had an idea: Why not write a review together? So, here it is: The first edition of TwofoldTreatise - two critics, one album.
Soliloquist: Okay, let’s start this review by talking about the dinosaur in the room. This is an album about the extinction of the dinosaurs. Pretty metal, if you ask me. I find it rather interesting that I have never heard a metal album about dinosaurs before, actually.
Loveloth: Ever since I was a wee lad, dinosaurs fascinated me. So much in fact, I wanted to be a palaeontologist but life panned out differently. In any case this should be right up my alley. Prog hybrid record about dinosaurs? Yes please, I’ll have one of those to get my mezosoic fix before The Ocean release Phanerozoic II.
Soliloquist: Dude, this sounds exactly like my biography. I also wanted to be a paleontologist and my childhood was reigned by dinosaurs. I still know most of their names and have a rather great amount of completely useless knowledge about them. Dinosaurs are freaking cool, man. So, what were some of your initial impressions when listening to this album?
Loveloth: Same here my dude, Walking with… series were a constant companion back in my youth so now I understand why both of us were so interested in this. Glad you asked, I liked the record and I am ready to discuss. Before we start that, a question. What bands do Endolith remind you of?
Soliloquist: That’s a very good question. I got strong Devin Townsend vibes throughout the album. The wall-of-sound approach to songwriting the band uses frequently on this record is very akin of Devin’s approach in my opinion. Some of the proggier death metal sections made me think of Rivers of Nihil’s latest album and lots of the rest, e. g. the clean vocal choruses, as well as some of the riffs, reminded me of Extol, another Norwegian prog-death band. How about you?
Loveloth: Interesting, I’m a huge Devy fanboy and didn’t hear a lot of his influence here, apart from the production like you mentioned. For me though, Endolith remind me of an angrier, shriekier The Ocean mixed with Meshuggah (some of those riffs man), Extol (good call btw) and Dimmu Borgir and Septicflesh due to The Arctic Philharmonic Chamber Orchestra lending a hand, or thirty eight to be more exact. Judging by our descriptions (and please do judge, we’re totally in the right), this is a weird band, so what stood out for you the most?
Soliloquist: First of all, I agree 100% on the Meshuggah part. Totally forgot to mention them, they came to my mind, as well. Yes, weird is a good word to describe them. I can’t even pinpoint one particular thing that stood out to me. The lyrics, the atmosphere, the combination of orchestral elements, death metal and those melodic sections - there’s so much interesting stuff going on in this album. I think the first thing that really struck me when I listened to it for the first time was how prominent the orchestral elements are in the band’s sound and how well they fit in with the djenty extreme metal riffs. The clean vocals were another element that really pleasantly surprised me.
Loveloth: It’s quite a dense package, that’s for sure but Endolith make it work, not only that but constantly throw curveballs at the listener for good measure. The addition of the orchestra was an excellent call as it adds another layer of atmosphere and since we’re dealing with that pesky asteroid which wiped out the dinosaurs, that grand scope which the strings, brass, percussion and woodwinds provide comes in really handy. I’ll be honest and state how I wasn’t particularly impressed with Chicxulub after my first listen but it grew on me as I started wrapping my head around all the mayhem that is present here. Take “Nest Scrape Display” for example, and how its thrashy beat clashes with a very Shuggah riff but as soon as you get used to it, we get a soaring chorus that greatly reminds me of their fellow countrymen In Vain. Endolith are unhinged, ambitious and I like that but I feel the band is yet to achieve their peak. Some things just feel off. Do we share this sentiment?
Soliloquist: Absolutely. My listening experience with this album was interestingly the other way around. Listening to it for the first time was super impressive, but after multiple listens I began to notice some flaws and things I didn’t like all that much. I think this is a great album by a band with lots of potential to become even better in the future. Endolith have a rather unique sound already and I think they’ll be refining it on future releases. I’ll definitely keep an eye on them. Do you have a favourite song on the record or one that stands out to you in any way?
Loveloth: I do actually and guess what, it’s the proggiest and longest track, I am of course referring to the title track. It contained the only “oh shit” moments on the record. That breakdown around the three minute mark is nasty but what completely caught me off guard is the return of the record’s main theme that appears in the beginning of “Bloodfiends”. It’s a good and effective trick that works wonders with prog bois such as me. After it, the track morphs into a lengthy and epic outro and this is where Endolith shines the most as they have the time to successfully pull-off every idea they have for the song. And while no song is bad, some are a bit underwhelming like “Mount Evidence” or the final, bluesy track “When The Earth Died Screaming”. The idea is extremely cool but the execution lacks something I can’t quite put my finger on. What’s your favourite?
Soliloquist: I’m not quite sure. The title track is great and I really like “Nest Scrape Display” and “Ichthys” a lot, but I think I have to go with “Diseasons”. I love how ominous and atmospheric it begins and how ridiculously heavy it gets towards the end. The harmonies and melodies on this track are some of the best on the album and it generally feels the most “complete” and thought out to me.
Loveloth: “Diseasons” almost ended up as my favourite for reasons you mentioned and I totally agree on it feeling the most “complete”. Regardless of this positives we went through, I still think I should like this more than I do. It has everything I like: paleontology, prog, djent, unconventional songwriting, dynamic vocals, experimentation, an orchestra and fat riffs but I still feel something is stopping the band from creating a true gem and I am yet to pinpoint what and maybe that’s the problem! It’s so hard to define this record and I think that hinders it despite helping it. I know that sounds contradictory but hear me out. Endolith needs to find that is completely theirs to solidify their character and that comes with time, time the band has because despite this flaw, Chicxulub is an enjoyable, quirky and fun journey that I see myself revisiting from time to time.
Soliloquist: I agree on almost everything you mentioned. I enjoyed Chicxulub enough to listen to it many times and never be bored or annoyed by it, but it also didn’t blow me away or become an album I’d call an absolute masterpiece. I see it primarily as an album by a band still figuring out their definitive style and within that framework it’s a very good album. It has its flaws and some edges that would have needed some smoothening, but it’s definitely a lot of fun to listen to and I don’t regret a minute I spent with it.
Loveloth: Absolutely, well, think we went through everything, surprised how much we agree on things, must be the palaeontology fixation, in any case, if you are in some need of odd, eccentric and progressive death metal, Chicxulub (unlike the poor dinos) is here and available on every music platform, you know how it goes. Any last words Mr. Soliloquist?
Soliloquist: Life uh.... finds a way.
Loveloth: Thus spake the Soliloquist and Loveloth, the two lords of palaentology-laden metal.
Written by: Vattghern
Time is money. More notably, time is limited. In this modern day and age, for the majority, everything needs to happen fast. I need my news fast, I don't have time to cook, and I especially don't spend time on anything I don't really need to. It's sad, really, but why this pretentiously philosophical monologue to start the review of Zohamah's Spread My Ashes?
Because Zohamah approached their record in similar fashion--which in this case, works in favour of the music. The record is roughly half an hour long and given the type of music that is presented, a more stretched out approach would undoubtedly have taken away much of its charm.
Kicking off things with thunder and stormy rain is new World, and it captures the soundscape of what is to come accordingly. A bit of dissonant black metal, a bit of doomy atmosphere, and some death metal chugging. Genre traits are not bound to exact attributes though, since variety is subtle but noticeable. While Black Cloud is very fast paced, with hints of death metal, the intense vocal performance and tremolo picked melodies across the album scream "black metal."
Given the underlying diversity of influences and styles, some transitions don't work out as they should. At points an abrupt change or not-so-smooth transition occurs, but luckily for the listener, this is more of a rare occurrence.
With a production that gives spotlight to every instrument and a blend of genres that provides the listener with something fresh yet oddly familiar, Spread my Ashes succeeds in most parts. Especially the decision to cut corners where needed, which ultimately forms this into a short but sweet record.
Zohamah -Spread My Ashes will be released Feb. 1st from Redefining Darkness Records
The Sleeping Village's story teller-in-residence is back with a grisly vengeance. Read on:
Written by: Tales_of_Deception
Darkness 5.10.46: It’s a remarkable sensation to feel the warmth of someone else’s blood drip onto my body while they hang above me, clinging on for a mere last breath. This isn't the first corpse I've decimated and it sure as hell won’t be the last. It seems as though they, the humans, want to find a place that has never been discovered. Little do they know that every single body that enters my tomb has been consumed by pure darkness, utter pain and an overwhelming sense of never being seen again.
The absolute torture I project on the souls that discover this realm of destruction is what I live for. This is my place! This is my tomb! I want them to bleed. I want them to feel the same agony I felt when I was banished from where I lived before here. I shall shackle them from rusty chains, carve every inch of flesh from their bodies and let them slowly rot from starvation. This is what they deserve. I want this “kingdom” of mine to be littered with the rich, poor and innocent. I want the skies to pour blood from the dead that I've taken. I will prove this is my sanctuary.
This Hell 6.30.47: Fractured skulls, limbs and entrails have always been scattered across the floor here. It’s a sign that I am becoming who I was meant to be. The smell of blood and rot is really what pushes me to keep my path going forward. It’s the thrill that one day this “throne” will be filled with nothing but the wicked. Every bone, every heart, every organ, I want them hear and I want each one of them to see what I have done before the life they loved gets taken away.
Time is absent down here. I count the days by how many bodies I have collected. The count thus far is 120 but I can smell another wondering soul in the distance. It’s only a matter of time before he/she/they discover this hell that I've created. A smashed face, a few broken ribs before being tied up and carved open, it’s all open ended scenarios that are quite possible to happen. I have zero regret for what happens down here. Call it what you will but for the rest of my days, I will despise the living above me. I want them all, no matter how much destruction I have to cause.
Dirty rock n’ roll--as High n’ Heavy self-describes their genre of choice--invokes a pretty obvious sonic palette: fuzz-ridden guitar, unrestrained bass, cigarette n’ whisky vocals. It’s a form of 70’s worship that works only if you throw yourself wholeheartedly into the aesthetic, and Warrior Queen is a perfect example of that sheer dedication in practice.
With their latest LP, High n’ Heavy creates the medieval equivalent of a biker bar--instead of leather-swaddled Lemmys, picture a crew of six-string wielding knights in rusty armor. If you’re used to clean edges and keen production, look elsewhere. If, however, you like music that remains as fiercely dedicated to the amp as it is to the pipe...your quest is over, friend. High n’ Heavy reminds me of so many different bands from so many different genres, to the extent that listing them all feels, in many ways, counterproductive to actually describing what they sound like. That said, the unrefined edge of early Free or Zeppelin rears a bluesy head, and the Wolfmother vibes are particularly strong, especially in the stylistically overextended vocal delivery. Speaking of vocals, there’s a little bit of Circle Jerk’s gruffness swirling around as well. In terms of the retro scene from which they have spawned, there’s some Killer Boogie in the occasionally boppy riffage, and maybe High Reeper in the general scummy irreverence. Instrumentally, Warrior Queen takes a doomier bent than past outings, with Mike Dudley’s hefty low end bringing the atmosphere to greater depths, and John Steele’s riffage and keys lending the whole affair a deliciously antiquated glow. And while we’re running through the roster, Mr. Perrone keeps things rock-steady whilst maintaining a pleasing presence in the percussion department.
Oftentimes, rock outfits suffer from an unsophisticated spread of talent--in other words, one person clearly rises above the rest. Not so here. As a unit, High n’ Heavy is workmanlike in that everyone seems to contribute substantially to the final product. That said, the vocals are High n’ Heavy’s most unique trait, plain n’ simple. Ranging from the Plant-esque howl of “Grown Tired,” to the punky shouts of “Catapult,” to the discordantly melodic strains of “Lydia,” the variety Kris Fortin brings is impressive, to say the least. A weak moment is evident on the intro to “Join the Day,” where some heavier instrumentation feels necessary to hold his reedy warble, but otherwise, Warrior Queen’s intrinsic rawness is very well balanced.
All told, Warrior Queen is a highly enjoyable album from an understated band, an appropriately grungy dive into the dumpster of rock and stoner trappings. High n’ Heavy’s raw brand is dependent on a certain love for the fundamentally dirty spirit of rock n' roll, and for this commitment alone, I applaud them. Bottom line? This particular villager recommends you strap on your armor, ready your steel, and try the Warrior Queen on for size. While High n’ Heavy don’t smash genre barriers or present monumental songwriting chops, that’s not why they are here. And frankly, that’s not--and forgive me if I'm wrong--why any of us are here either.
High n’ Heavy - Warrior Queen will be released Jan. 25th from Electric Valley Records
Written by: Loveloth
Winter has been pretty weak in my realms this year, and that displeases me as I need my dose of snow and unwavering cold. How do I remedy this? By listening to the gloomiest and doomiest music out there. Germany's Nailed To Obscurity somehow heard my call and released Black Frost, their fourth full-length, and its timing could not be better. For those unaware, Nailed To Obscurity's third offering, King Delusion, won a decent number of frigid hearts back in 2017 with its melodic take on death and doom metal by taking cues from the likes of Opeth, Katatonia, Paradise Lost, Porcupine Tree, Tiamat and everything a sadboi revels in. Black Frost continues with the established but adds a few novelties, for better or worse.
The tasty guitar tones, vocal interplay and general sense of melancholy is still prevalent, but there seems to be a larger emphasis on space and atmosphere. It works most of the time. Fans of Opeth will especially appreciate NTO as Raimund Ennenga's cleans and growls resemble those of mighty Mikael Akerfeldt and Nick Holmes. His varied approach works as expected and follows the instrumentation accordingly. The title track sets the mood with those sadboi-renowned harmonics and squeaks, solid cleans before devolving into a crunchy, dark and frigid concoction that moves like the frost it deals with. The space I mentioned plays a big role here, especially in the opening and closing part of the track. It gives a nice feeling of build-up, but as with everything, using one thing for too long gets stale and dull really fast and NTO use this technique too much in my opinion. More immediate tracks like "The Abberant Host" proudly wear their Opeth colurs, perhaps a bit too much but it still isn't nearly as engaging or dynamic as their biggest influence. I actually like the chanty cleans that pop up midway, especially when you hear Carsten Schorn's lovely bass tone churning underneath.
Speaking of which, the production. It's pretty solid, the guitars and drums are finely mixed and not overpowering, the vocals sit nicely a bit above the guitars but not too much and the bass sounds really good when you hear it like in "Feardom". As for the band's performance, it's good across the board. Lamberti and Dieken's melodic guitar interplay would be my highlight if they didn't repeat themselves as much but I'll get to that later. With that in mind, Jann Hillrichs' drumming gets my vote as I find his execution the most dynamic and satisfying. He successfully restrains himself from overplaying and his fills and grooves are as tasty as they come, really solid job on his part.
After establishing the band is good and talented, what's bothering me so much? It has to be the songwriting, it's a continuation of what King Delusion established but it feels even more safe here. The one-note approach and tendency to really drag with the songs hurts this record the most. What we get is a frustrating result of a band having all the ingredients for a good record but it all falls short due to monotonous songwriting and playing it safe. This may sound like I hate the thing but far from it. I can clearly see the band has all the talent needed but they need to push more because Black Frost feels to familiar and considering the band already plays a style of metal that is established and well known, this is no bueno, and we end up with a just "eh" record. "The Abberant Host", "Road To Perdition" and even "Cipher" are all proof the band has everything they need but seem to lack true focus and will to experiment and emerge with their own, unique take on proggy death-doom. And until they do find their own voice in this vast music world, I'll opt for the bands that they themselves are influenced by. And trust me when I say, with this weak winter, I need it now more than ever.
 Black frost is not actual frost, but a condition where it's cold but not enough to freeze, but has humidity low enough to kill the vegetation and effectively freezes it. We here at The Sleeping Villagecare about your education and will always strive for elaborating lesser known terms.