|
Special thanks to Carcassbomb (of ye olde Noob Heavy and Black Lodge PR) for the words! If you're looking for top-notch music writing, I highly recommend adding Noob Heavy to your blog rotation. You should also check out Black Lodge PR if you need, well, PR (the sheer quality of which I'll happily vouch for!) - Ed.
Guest post written by: Carcassbomb
Australia has been coming in strong lately with bands under the genre tag “dark metal,” which is well suited here with a sound that is difficult to nail down, it takes a bit of everything with the emphasis on darkness. Be that a brooding kind of darkness or menacing darkness depends on the album, but with Spire there’s a perfect balance of both. This is my introduction to the band and it left quite the impression! A pleasurable barrage of doomy genre-hopping can be found on Temple of Khronos. They have a powerful way of building up to really epic moments that come with a lot of added flourish. There’s a great black metal influence with shrieking that reminds me of Silencer as well as growls on the doom end of the death spectrum--both of which blend in well with the clean variations of singing and BIG HUMMMMS. There’s a lot of thickness to the overall production, utilizing vocal modulation and repetition to great effect. The density could be compared to fellow Australian’s Portal or more recent, The Amenta, and the BIG HUMMMMS might sound freshly familiar to those who dug into that Sutrah EP last year.
0 Comments
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. The next guest in line to graciously offer a retrospective in this series is Duncan Evans, who creates dark folk/post-punk under his own name, and apocalyptic noise poetry (which we premiered here!) under the Moonlow moniker. He's a producer, an engineer, a writer at Ghost Cult and Alternative Control, and, lest it be forgot, has a twitter you should probably follow. Beyond these current projects, he was previously the guitarist for Forest Of Stars--so, all told, cred certified many times over, amiright? Without further ado: enjoy this retrospective!  Written by: Duncan Evans
This album was my first proper introduction to Nick Cave. It remains an incredibly important piece in the jigsaw of my own development as an artist and as a human being. I also believe it is significant in a wider cultural sense. Around the mid-2000s, Nick Cave had seemingly grown tired of producing records with the expanded 8-piece lineup of The Bad Seeds: “It felt like every time I took a song into the Bad Seeds, everyone piled in on it. In the Bad Seeds, you play a song, and everyone's grabbing a fuckin' maraca, y'know?" In response, Cave and three Bad Seeds members (Warren Ellis, Martin P. Casey, Jim Sclavunos) formed Grinderman. At the same time, I was growing weary of the virtuoso prog rock I had been listening to. I had listened to a few of Cave’s songs and I had meant to properly explore his work for a while. I remember reading about Grinderman in the music press just before its release, and I thought this was probably as good a place as any to start. I ordered a copy and, strangely, two of them landed on the doormat a week later. Hearing this record on its release in 2007 was something of a Damascene moment for me. It opened up doors which remain unclosed. What follows is an explanation of how this album impacted me so deeply, and why I think it matters in wider terms. 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. The next guest in line to graciously offer a retrospective in this series is SW, the sole bleep and blooper of black metal inspired chiptune act Lunar Cult, whose work can be found lurking over at bandcamp. I don't listen to much chiptune, but when I do, it's invariably the nuanced and intriguing work of Lunar Cult. Needless to say: when yer done here, check it out!  Written by: SW
It’s a cliché that our teenage years are a period of rapid development, and something we can take for granted; and sometimes, it’s only in hindsight that we can appreciate how much we changed in a short space of time. This is certainly the case for my own journey as a music fan. At 15, my favourite bands were the likes of Ash and Green Day--radio-friendly rock with a hint of transgression. Yet by the time I was 16, I’d gone through a period of massive growth aided by Napster, jumping from Green Day to Korn to Slipknot to Marilyn Manson to Nine Inch Nails to Atari Teenage Riot in a matter of months. Whilst Nine Inch Nails are undoubtedly one of my favourite bands, and changed my relationship with music profoundly, it’s Atari Teenage Riot’s first album, Delete Yourself!, that I think may have had the biggest overall impact on me.
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. The next guest in line to graciously offer a retrospective in this series is one Aaron Palmer, sole member of raw black metal/black n' roll entity Rage of Devils--who, incidentally, is dropping a mean album in a few short weeks. Once yer done reading this retrospective, check out Infernal Embraces' available singles here!
Written by: Aaron Palmer
I went through several years where, for multiple reasons, I wasn't enjoying metal. One of the hallmarks of OCD is intrusive thoughts. Irrational thoughts that come into your head out of nowhere, but feel so gut-wrenchingly real that you can't help but give them credence. Mine started in 2011, and they told me that I wasn't “allowed” to like metal. Simply saying that doesn't convey the fear that came with those thoughts. It was a sick feeling in my stomach that I was doing something wrong by listening to metal. It wasn't based in anything real; no religious background was responsible, for example. My head just told me that I wasn't allowed to listen to my favorite music, and my insides turned to water. 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. The next guest in line to graciously offer a retrospective in this series is politically inclined industrial artist Atrop0ss, whose work can be found in the wildlands of bandcamp. In a strange twist of fate, this is the third(!) NIN album to have been featured in this series--clearly indicating a broad reach of influence. Once yer done here, check out these retrospectives of The Downward Spiral and The Fragile! But, without further ado:  Written by: Atrop0ss
2020 has been a culmination of centuries of corruption, racism, and propaganda, all burgeoning into a multi-faced demon threatening utter demise. Americans especially are faced with a year that seems to bring a new tragedy or intense "happens once a century" type of event every month, and have reacted in all manner of negative ways. Trauma seems to be a consistent response. And in times of trauma and hardships, we as a species often turn to music: for answers, for peace, to feeling justified, to feel heard. Musicians in these situations will often write music in order to explain a point, or make known their views. In my (relatively short) time on this earth, I've only found one album that really, honestly, predicted exactly where all this corruption and evil would bring us. That album is Year Zero by Nine Inch Nails.
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. The next guest in line to graciously offer a retrospective in this series is Llaves of thrashy blackened outfit Witchurn (a band which we incidentally A. love and B. wrote about here!) Read on:
Written by Llaves:
Back in 2016 I was perusing the vinyl collection at Earwax Records, a record store in Madison, WI dedicated to metal and punk (which has sadly closed its doors). I had been through a few independent record stores with a few token thrash or NWOBHM releases, but this place had all kinds of stuff I’d never heard of. Flipping through some of the black metal collection I found Portals to a Better, Dead World by Cara Neir. I’d heard the band name before but had never actually sought them out. The cover alone sold me, a grim portrait of a decaying man chained to a wall. Weirdly perfect for my first winters in the Midwest, cold, isolated, frightening. It felt right. I put the needle down and 40 minutes later came out of a fugue state. Let The Waves Have Their Way - On Interpol And Black Metal (A Retrospective by Sarah Allen Reed)6/25/2020 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 a band or album that was deeply impactful or influential to them, either musically or personally. The fifth in our series of guest reviews is brought to us by the multi-talented Sarah Allen Reed of (I quote) "Ophelia Drowning, Coma Roulette, The Forest At Night, and way too many other things to keep track of!" Sarah's assorted projects can be found at her official site. As ye will inevitably and quickly discover, this particular retrospective marks the Sleeping Village's first non-text article! Needless to say, we were very excited to see that Sarah's retrospective would address notions of personal musical impact in a new and novel fashion--namely, a gorgeous autobiographical comic. Today, Sarah discusses in visual form the influence of Our Love to Admire by indie-rock/post-punk heavyweights Interpol. Without further ado: please enjoy!  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. The fourth in this (increasingly popular, apparently!) series of guest reviews is Forest Bohrer of Adzes--who, incidentally, just put out a very good album that you can read about here. Read on! Written by: Forest Bohrer Time brings them all home To the eye of every storm  Upon the landscape of heavy music, Neurosis looms. The Oakland-based collective has produced a slew of landmark records through the decades, influencing multiple generations of musicians and spawning entire genres of like-minded bands. Their most well-known record is the apocalyptic machine that is Through Silver In Blood, a sprawling seventy minutes of oppressive darkness. And yet, when I think of Neurosis records that had the profoundest influence on my life, 2004’s The Eye of Every Storm is the record I return to.
At the turn of the 21st century, the band had just delivered Times of Grace, a masterpiece perhaps even surpassing Through Silver In Blood in emotional weight and crushing sludge. And rather trying to reach the great heights of Times, or the depths of companion EP Sovereign, the band turned to a more contemplative, organic approach. A Sun That Never Sets and its successor The Eye of Every Storm featured gravelly singing, acoustic guitars, cellos, complex harmonies, and matured songwriting, but are no less weighty than other Neurosis albums for that. 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. The third guest to graciously offer a retrospective in this series is Steven of (intoxicatingly cathartic and emotive) dark electronica act aortaproject. Notably, this is the second of four(!) NIN retrospectives. Read on!  Written by: Steven of aortaproject
Nine Inch Nails The Fragile: Trent Reznor's opus. Not his most critically acclaimed work, but for diehards, this is "all that could have been" for Nine Inch Nails. It's been almost 20 years since the iconic double album’s release in Sept of 1999 and I still couldn't be happier with it. The Fragile remains a staple in my reported influences, and a constant in my playlist. Even after thousands of hours of listening, I still find bits and pieces I haven't noticed before. Exploring the threads of Reznor's genius. The Fragile is laced with sonic texture, intricate layering, and an articulate blending of synthetic and natural elements, encroaching the frail temperament of stringed instruments with the powerful programming of electronic drums and pulsating synths. 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. The second guest to graciously offer a retrospective in this series is Chris H of antifacist blackened outfit Phryne. Read on!  Written by: Chris H
The first time I listened to The Downward Spiral by Nine Inch Nails was in 2015. At that time, I was starting to find myself listening to heavier music, and I was venturing to discover all the classic hallmarks of metal. Industrial had always been interesting to me, but as a kid I was always too afraid of the dark imagery to really listen. When I sat down to listen to The Downward Spiral--the first industrial album I decided to listen to--and pressed play, I heard the sounds of a man being beaten in a strangely rhythmic fashion. At that moment, I was uneasy and wondering if I should keep going and listen on, but as the sample from the film THX 1138 crescendoed into a chaotic noisescape, I gave in and was transported to the grimy world Trent Reznor had created. “Mr. Self Destruct” is still one of my favorite album openers because of its raw attack and energy. It is the perfect beginning to the experience that is The Downward Spiral. |
Welcome!
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!
|
RSS Feed