Written by: Volt Thrower
Drainbow! No, it's not a psychedelic effect of household cleaning supplies, it’s the eclectic, ambitious project of solo act extraordinaire Nick Sarcophagus, who brings us his debut long player The Tower of Flints. A dark twisting journey of extremities, whether it be the bounds of genre, or the limits of nature's capacity to sustain, viewed through the lens of her most vulnerable inhabitants. “To the victor the spoils," which just so happens to be whoever lays ears on this record.
I love it when an album's cover art perfectly encapsulates the sound found within, and this is a great example. A tip of the cap to Sarah Allen Reed for another work of art, really summing up the beautiful yet harsh reality of the natural world surrounding us. From its most tranquil moments of animal calls and keys, to its most frenetic of wails and galloping progressions, the story is to be found within the walls of said art.
Written by: Shane Thirteen
I tend to not read reviews of bands or artists I'm going to review because I don't want the influence of someone else's ideas to be in my head when I'm trying to think of how I feel about a project. That being said, I have no idea what other people are writing about War Cloud. What I can say is that if the words "AMAZING" or "Fucking Fantastic" haven't been used to define them, then that is a low-down dirty shame.
War Cloud hits on so many levels for me. I can take a snap and sink back in my chair and ease into that place in my mind that puts me back into teenage fantasies of being a riff-monster rock star. The guy who lays down the riff that changes the world. To me, War Cloud's Earhammer Sessions is the beginning of my rock and roll fantasy. I'm old. I mean like, I fucking remember the 70's kind of old. This album evokes that old school rock and roll spirit. It takes me back to the days of true rock and roll domination.
Written by: Blackie Skulless
Woah man, the usual rate for Haunt dropping releases is one full-length per year, with a complimentary EP to go along with it. But 2020 is different, and considering the amount of shit this year has offered humanity, it’s nice when things are different for the better. Frontman Trevor Church dropped Haunt’s third album Mind Freeze at the beginning of the year--an album of the year contender for sure. But instead of an EP to follow, we get a second full-length under the name Flashback.
Unsurprisingly, this is the cleanest effort the band has dropped to date, especially considering the vocals taking more of the forefront than ever before. I chalk that up to the concise and clear delivery. Additionally, we’re met with a far warmer feeling to contrast the previous record, fitting the summer time feelings, rather than the winter ones of the previous effort. It’s probably safe to say that this is also where Haunt were reaching for more of a pop-metal aesthetic, especially with “Electrified.” The chorus is catchy as hell and somewhat watered down, though it isn’t bad by any stretch of the word. You just can’t ignore the prettier nature and simplistic build.
Written by: Volt Thrower
Canada has been on a tear with its metal releases so far this year. Alberta specifically has been a hotbed for heavy lately. Whether you want genre bending devastation of the stunning Wake Devouring Ruin release, or some mind numbingly heavy stoner doom in Highbernation's Comatokes, chances are you can find something to scratch that itch in-province.
Now you might be saying, “I'm actually in the mood for some trad-heavy, maybe some NWOBHM speed stuff.” If so, gather ‘round weary reader, for the local village Journeyman has the release for you. Termination Shock, recently released through Gates of Hell Records, is the second full-length from Calgary speed rockers Traveler.
Blood Red Victory is--praise the gods of battle above--the textbook definition of a grower. At initial listen, IRONFLAME seemed banal at best, a deliberate and unassuming second fiddle to literally any of Iron Maiden's more, well, banal moments. IRONFLAME, my early notes indicate, is to Snoke as Bruce Dickinson is to Palpatine--a fallible facsimile.
But I couldn't have been more wrong. While Blood Red Victory isn't a showstopping album by any means, it is, in fact, a delightfully astute and solid recreation of the trad metal sound. Despite listening a great many times over the past few weeks, I'm inclined to throw it on one more time. Or maybe two more times. Let’s just see where the day takes us, shall we?
Autumn was a brief affair here at the Sleeping Village, and now that rime coats our beards and the snow has unceremoniously de-robed the trees, we slumbering scribes are all set to slip into hibernation for the next five months or so.
But! To combat said lethargy before it truly sets in, I, in all my administration authority, bequeathed our archivist to trawl through our overstuffed mailcart for something worthy of our collective attention. When he emerged, Galaxy’s sci-fi inspired debut EP clutched in white-knuckled grasp, I was confident we had, at very least, an approximation of a winner. And so here we are, blasting Lost From the Start ‘till our lids droop. Feel free to join in the festivities.
Our shadowy cabal of scribes has happened upon one of the most wondrous and/or perplexing albums in existence. The following reviews, released over the course of several days, is our humble attempt to decipher that which lays before us. Prepare thyself. - Ed.
Written by: Loveloth
On November 25th, in year of our Lord 2019, I, Loveloth, release upon thee a review of a record to end all records. I am, of course, referring to Remmirath's sophomore Shambhala Vril Saucers. In case you somehow don't know about them, they were formed in Bratislava many moons ago and while they share three members with Malokarpatan, they sound completely different. Calling them eclectic may sound pretentious, but I truly believe they are.
Things start off blackishly enough with "Tiger Of The City," whose generic riffs and blastbeats lulled me into a false sense of security before unleashing a deadly weapon--synths. Synths that would find no trouble finding themselves on a Hawkwind record. Assisting it is a bass that sounds equally as 70's, but as soon as you get used to it--riff time.
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.
As a sobered collective of secularists, the Sleeping Village wouldn’t typically welcome a High Priest into our midst. But here we are: praising, with undisguised zeal, the latest effort from these Chicagoan doom-slingers. Such is the power of the riff. High Priest's forthcoming Sanctum is a wondrously enjoyable release, and we’re honored to spread the good word.
Sanctum is an addictive 4-track slab, a well-conceived coagulation of influences. Promo material cites Alice In Chains, Pallbearer, and Trouble, while additionally recalling the group’s genesis at an Electric Wizard show. These are bold comparisons for an untested crew...but comparisons with which I am very much inclined to agree. While the downtrodden AiC style vocalizations and the swirling Wagner-esque compositions are spot-on, I’d argue that High Priest occupy a surprisingly subtle spot in the doomverse. While undeniably (and characteristically) riff-centric, no track here even begins to feel weighed down or drawn out. While melancholic and sorrowful, Sanctum never wallows or loses its delightful dynamism. And while approaching, at times, NWOBHM’s trademark melodic drive, it never feels excessive, nor does it fly off the rails with reckless abandon. In this sense, High Priest demonstrate the genre-melding abilities of Valkyrie, or perhaps even Desolation-era Khemmis. It’s hard to bring something new to the doom game, but High Priest feel remarkably unique in their tempered approach. Bottom line: this EP displays a very modern edge while simultaneously illustrating a variety of sounds that helped define doom and sludge. Not, my friends, a bad place to be.
Sanctum kicks of with the excellent Descent, which remains, to this Villager’s ear, the best thing these guys have ever written. Here, High Priest is firing on absolutely every cylinder. Militaristic drums, decidedly soulful vocals, expansive-yet-immersive riffs that weave and meld with confidence. The twin guitar approach rips with power and precision, and the chorus is an absolute beast. Descent is on course to become a contender for most played track o’ the year, and for good reason.
Beyond this unabashed display of prowess right outta the gate, Creature and Paradigm reinforce initial assumptions. That is, High Priest know how to write a compelling song. As alluded to before, there is little space for stagnation. The tastiest licks and most rollicking riffs are afforded the perfect amount of time in the spotlight. And while that’s all well and good, the latter track, in particular, displays some notably fantastic work in the percussive department. For a band and genre that inherently places such (deserved) emphasis on the guitars, it’s genuinely wonderful to hear such a strong showing from the drummer. Truly a standout performance. Closer Offering, while displaying a certain Troubleing vibe and strong dynamism in the vocal delivery, does feel a tad long. Given otherwise impressive fat-trimming chops, the back half here does feel slow in comparison. As a whole, however, we’re left with a very well executed package.
As riff-worshipers, you and I are walloped with a lot of doom on a daily basis. Keeping that in mind, it’s fair to say that High Priest are going places. Sanctum comes highly recommended. If you need some convincing, listen to Descent below:
Evidently raised on a diet of Twilight Zone reruns, fantasy, monster flicks, and Iommi riffs, Chicago’s Sacred Monster is, first and foremost, a pretty unique outfit. Take the campy and otherwise nerdy jubilance of Gloryhammer, splice it through the sludgy riff-driven aesthetic of Time Traveling Blues-era Orange Goblin, and enjoy the resulting concoction whilst having your molars removed in the damp confines of a medieval dungeon. Ah, hell. Throw in an aggressive vocal tone accented with Them-worthy shrieks for good measure. That (in an appropriately weird nutshell) is what you get with Sacred Monster’s debut LP. Worship the Weird is, without a doubt, the single-most entertaining album I’ve heard this year, and I’m very, very excited for its release on March 1st.
Fear not: We’ll be writing a full review of Worship the Weird in good time. Today, however, is all about lead single High Confessor, which can be streamed below. Taking inspiration from the sneering Sand dan Glokta from Joe Abercrombie’s First Law Trilogy, the track follows a torturer and his victim through the inevitable grisly affair. “Go ahead,” the protagonist growls in his cruelly contemptuous tone. “Beg God for mercy... but He doesn’t hold the pliers down here.” High Confessor is a track that ratchets up the riff-centric intensity--both thematically and sonically--with shameless abandon. The result? A wildly groovy and aggressive ride.
I could blather all day. But let’s get to the music, shall we? Check out High Confessor...and if you are equally smitten, take it upon yourself to check out that pre-order.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!