Written by: The Administrator
There's nothing quite like an unexpected surprise plucked from the depths of our promo pit. Retrieving a random press kit from the heap and subsequently finding something weird and wonderful will never grow old, and indeed remains one of my personal primary motivations for writing here at ye olde Sleeping Village. Philadelphia's own Lástima recently dropped their forthcoming two-track EP in the ol' inbox, and, needless to say, it made for an exciting encounter.
Lástima play blackgaze through an overtly emo lens--a sub-subgenre that reflects the nature of the band's moniker with a delightful accuracy. Referring to a sense of pity or hurt, or "to be said in order to show compassion for someone in pain," lástima seemingly describes a range and intensity of emotion that feels both potent and familiar. The music itself reflects this multifaceted term quite stirringly, and that, in and of itself, is a victory in the realm of overtly emotionally driven music. Without further ado: let's dive in!
Written by: Izzy
Svalbard are a relatively new face in the world of metal and punk, their first release having been unleashed upon the world in 2014. Since then, they’ve been a consistent talking point for both their gorgeous melodies and blend of neocrust, post-rock, screamo, and blackgaze, as well and their political stances, frequently angering basement-dwelling neckbeard metalheads who proceed to furiously write a tweet about how women are ruining metal--Oops, was gonna try and not get too political on this one. My bad.
When I Die, Will I Get Better? is in many ways a logical trajectory for the band. Elements of post-rock and blackgaze have always been present in their music, starting at their debut One Day This All Will End, becoming more pronounced on their amazing 2018 release It’s Hard to Have Hope, and finally reaching its climax here on their latest. Those influences have become pushed so far to the forefront to the point where I think calling them a neocrust/blackgaze band wouldn’t be too far off, but that descriptor would still be missing something.
In the rush to cover the constant waves of new music, we all too often neglect discussing the releases that leave the most substantial impressions in our lives. As such, we recently invited some bands and artists to wax poetic about an album that was deeply impactful or influential to them, either musically or personally. First up in this series of guest reviews is the prolific Espi Kvlt of Apricitas, Yngve, Seas of Winter, Phryne, Guan Yin, and Exsanguinated Shade. Read on!
Written by: Espi Kvlt
Is it blissful?
It’s like a dream.
I want to dream.
These words, from the first track off Deafheaven’s sophomore album, cut through me like a knife the first time I held the lyrics booklet up to my face to digest its contents. Impossible to decipher by simply listening to the album, I wanted to absorb every bit of it, as it had caressed me in the darkness of that filthy basement apartment where I lived with the man that would soon become my ex-boyfriend. The screeching vocals off Sunbather called out to me like a friend each time I was left in that bed in the corner of our room to ponder what I did to deserve the abuse from the man I thought I loved.
It cannot be overstated how much the lyrics alone have left a permanent impact on my
psyche, so much so that I branded those lyrics from “Dream House” permanently onto my flesh beside a ram skull. During those tumultuous times in that apartment, they were a source of comfort. They were my therapy. Accustomed to bands like Darkthrone and Cradle of Filth, it was the first time I had encountered such poetic language in black metal. Later in my life, this extended to my own lyrics. Deafheaven’s Sunbather still informs each decision I make when I put that pen to the paper. Lines like “Lost in the patterns of youth / And the ghost of your aches comes back to haunt you / And the forging of change makes no difference” make me both overjoyed at the experience of being able to read them and saddened to know I didn’t come up with them myself.
Written by: Ancient Hand
“Blackgaze” is a term that immediately disgusts and turns off purists of straight forward, Satan-worshipping, formulaic black metal. The image of modern hipsters wearing skinny jeans while writing black metal in basements is stomach-churning to some who would rather imagine 90’s hipsters wearing skinny jeans while writing black metal in basements. “Blackgaze” is a term openly embraced by Canada’s Unreqvited. Tagged on the project’s new album, Empathica, is the controversial term itself. Additionally, the album is self-described to contain “shimmering blackgaze melodies and grandiose orchestral segments.”
The second part of this description, though, is where the innovation lies. We’ve all heard an album make use of beautiful guitar melodies paired with tremolo picking and relentless drumming, but Unreqvited’s ability to roll symphonic and orchestral elements into the music is quite groundbreaking when experienced on this new LP.
Here's one of those reviews that has sat, half-completed, for an embarrassingly long time. The catalyst for completion? A lyric analysis that CHNNLR posted over on Instagram for the second single released under this project moniker. As stated there, “In Dreams”--the track in question--focuses on the “forms and stages” of clinical depression or anxiety, and how they “can debilitate and take over someone’s mind and body.” Like the artist, I am not diagnosed with these demons, but the person I love most in this world has routinely lived in the midst of a “waking nightmare” (as he astutely puts it) due to machinations of the mind: chemical, situational, or otherwise. Depression and anxiety are legitimate diseases with legitimate implications, and, as CHNNLR states, treatment is a necessity: “Don’t ignore the signs, and don’t just think things will get better. Reach out, connect, check in.” And, given the current state of affairs out there: now more than ever.
Written by: Izzy
Have any of you noticed this trend in recent years of more post-black bands mixing in elements of post-hardcore, and vice versa? Harakiri For The Sky, Asunojokei, Cara Neir, Unfurl, Oathbreaker, Glassing, King Apathy, John The Void, Møl, they all do it, and as both a hardcore nerd and someone who's often annoyed by the stagnation of black metal due to the attitude of trve kvlt worship many bands have, it's a trend I've loved to see popping up.
I adore black metal, it's easily one of my favourite non-core genres, but post-black especially is where I get off, as you can likely tell by the Sunbather aesthetic plastered everywhere on my Instagram (@izzlesreviewvault yes I'm a self promoting shill.) I'm absolutely a sucker for any bands that know how to blend the heavy, melodic, emotional, and vicious aspects of the genre or experiment and mess with the genres aspects all together, and no one does that better than the post-black community. But despite my adoration for a good black metal album I'm not particularly active in the black metal community for, uhm... obvious reasons.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!