Avatarium has a new album out today, and as I fuck off for a few hours to bask in its undoubted splendor, I'll leave you fine folks with a recycled review of their 2015 debut. The Girl With the Raven Mask fit neatly into that year's AoTY slot, both in the moment and in well-considered retrospect. Without further ado: So here I sit, basking in the warmth of Jennie-Ann Smith's vocal stylings. In one sense, her voice is a confluence of qualities: Grace Slick's sheer force, Jess (of the Ancient One's) eerie flow, and Jex Thoth's silky smoothness. But in another sense entirely, her tone is sophisticated beyond compare. Every track is imbued with a slightly distinct (yet no less alluring) character, and it is Smith, in large, who is responsible for this brilliant dynamism.
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Written by: Izzy Cast Into Their Own Night is uncompromisingly violent and visceral, while one could call this simply "black metal", you'd be ignoring all the subtle influences that creep in from across the spectrum of extreme music that create this masterful showcase of raw talent. This is a demo, only 2 tracks long and 14 minutes in length, but I hear great, great potential in this band. I am a lover of good black metal on the best of days, but these guys are something else, do NOT let this band slip by you. The titular opening track wastes no time and immediately hurls you into a dissonant torrent, while one may get lost in such a red, murky whirlpool of black metal, those with keen ears may notice hints of thrash metal and hardcore that worm their way into the bands rotted, festering sound. While taking up much less of the demo's run time than its successor, it promptly showcases just what this band is all about. But, they are far from a one trick pony, so don't be fooled by this very direct approach. Remember Creatrix? I sure as hell do. It wasn’t too long ago that The Last Martyr shook the walls of ye olde Sleeping Village with their stupendous debut EP. While we’ve been slumbering, they, evidently, have been putting in the work: this Aussie outfit seemingly cranks out high-quality singles with the aptitude and piston-like precision of a well-oiled machine. It feels strange to refer to such newcomers as “markedly consistent,” but here we are, appraising a band with, like, six songs to their name as if they were genre mainstays. And all after a significant lineup change, no less. Every foray into the studio inevitably results in another solid track showcasing the band's assorted strengths in equal measure, and with their latest, The Last Martyr predictably utilized the formula to great success once more. First, an apology is due. When the self-declared "four grumpy old men" of Swedish doom outfit Malsten got in touch this summer with news of "Torsion," their (fantastic) debut single, I had every intention of spreading the good news. Alas, I did not, and here we are, 6-odd months later, still spinning "Torsion" with the kind of regularity that is frankly remarkable given Malsten's lack of, y'know, a discography. Time for a review, methinks. "Torsion" is a hefty 10 minutes in length, but, like the best amongst their doomy brethren, Malsten use that time to great effect. The result is a well-constructed track that builds upon itself without every giving into the genre's quicksand--namely, oppressive heavy-lidded dullness. In short: no small task. Written by: Izzy Grindcore is a super divisive genre, I’ve only ever heard three kinds of responses when I ask people if they like grindcore. A. "I love it! It’s the grossest, rawest, and most intense genre out there." B. "Most of it is garbage, but there’s a handful of good bands, have you heard of Discordance Axis?" Or C: "Ma’am this is a Tim Hortons please just take your coffee." All of which are acceptable responses, but show a lack of understanding of what truly makes the genre so amazing. For me at least, true grindcore is the perfect fusion of punk energy and metal's ferocity. Now few albums do so flawlessly, even much of modern hardcore and metalcore in some way or another falls short of reaching this unrelenting nirvana. But grindcore? Grindcore is the one genre that knows how to harness that chaotic ecstasy and craft it into something that achieves that bliss amongst the madness. In the primordial days of this here Sleeping Village, we reviewed a track from Perversión, the third EP from Chile's own Corspehammer. At heart, Corpsehammer plays fairly basic (if notably speedy) brand of black/death/thrash, but that doesn’t change the simple fact that this EP squirms its way into rotation at an alarming rate of frequency. They also have a debut full length out, which I shall be enjoying in short order. But: first things first. “Reino – Sangre del Diablo” is a ominous and crashing affair, while follow-ups “Rito & Magia” and standout track "Sexo y Muerto" shift and grind their way into higher gear. I enjoy a deliberate build from standard fare into the wild and unhinged, and here, Corpsehammer deliver handily. The outro, like so many, feels largely unnecessary, but so it goes. Written by: Scribe Nathaniel There are many words that could be used to describe this record: Violent, Aggressive, Awesome, and Evil being but a few. Abominable riffing and acid filled screams and gutturals can be heard all through this wonderful, beautiful, and short grindcore record. Dissonant and volatile guitars can be heard as they force inspired acts of pure aggression and violence. The strenuous vocals fill the thick air with terror, violently shaking the room, and the pummeling of the drums reverberate that aggression throughout the forest and village here at Sleeping Village Reviews. Permanence opens up with an ear piercing sound of feedback before it begins its violent assault on the ears. Terror and Torture are one in the same within this record, it seems the goal is violence and brutality. Luckily this piece achieves what it sets out to do. The dank atmosphere is a wonderful amalgamation of brutality and speed. This whole record will bite onto your ears and spit them out as if Mike Tyson just beat you after a boxing match. This is a wonderful and terrifying record. Take even a cursory glance at the gloriously garish cover art before ye, and this much is exceedingly clear: Long Island's own Gorilla Wizard know how to have a good time. Their debut album, Tales From the Cauldron, is a bombastic and rip-roaring piece o' work, through and through. If you're not in the mood for high-energy fun, this wasn't made with you in mind. Don't really know what else to say. Chunky grooves and contiguously crunchy riffs rule the roost. You know what I'm talkin' about--the kind of sasquatchian chest-beating riffs that lumber into the swamp and then back out again, dripping and covered in gunk, without a goddamn care in the world. As much of the album operates according to this simple but effective guitar-driven approach, any tracks I would consider standouts simply apply the formula most egregiously. "Smashosaurus," "Maple Crunch," and "Black and Blue" are perhaps the most memorable moments, and the best introduction to Gorilla Wizard's jubilant brand in general. Generally, whilst writing a review, I immerse myself in a band's back catalog. In the case of Screamer's four-album discography, that particular exercise feels moot: I already know what color-by-numbers heavy metal sounds like. While that may come off as pretty disparaging--and it is, to a minor degree, because Highway Of Heroes is less than inventive--this consistency in aesthetic ain't bad. Not by a long shot. This haggard scribe can get down with some blatant worship of convention, and in this regard, Screamer are unmatched in their old school heavy metal spirituality. While it did, admittedly, take a few listens to sink in, I'm confident in stating that Highway Of Heroes is one of the year's best entries in NWOBHM and affiliated fun-lovin' categories. At Ye Olde Sleeping Village, it's a little odd for the vultures (and other carrion-feeders) to spend time occupying any locale other than the maggoty plague-pit. Thus, imagine our surprise when a Turkey Vulture rapped, Poe-esquely, on the door of our hallowed scriptorum. It presented a package before taking gangly flight--and so, here we are, new Turkey Vulture demo track in hand. How apropos. Funny how it happens, but what can we say? Music promo is an interesting world these days. For those of you not in the know, Turkey Vulture are a duo out of southern Connecticut with little regard for genre barriers or convention. Their singular brand of metal-by-way-of-punk-by-way-of-americana is informed by a motley cast of characters--not least among them being Dolly Parton Herself. We reviewed their two-track this summer, and, despite having very few songs indeed to grasp in grubby hands, we’re always impressed with whatever Jessie May and Jim Clegg have cooked up. The latest, an acoustic cover of folk ballad “In The Pines,” is no exception to this rule. |
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We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!
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