Written: The Voiceless Apparition
I just want to preface this review by saying that I'm a Rae Amitay fan. I think she is a highly original, unique, and diverse musician in a world full of rip-offs and corner-cutters. Be it Immortal Bird, her work with Thrawsunblat, etc., she puts her distinctive stamp on all of these projects. So when I heard the news that she was making her own band in which she composes and writes everything, I was ecstatic. errant is described by Rae as "a vehicle for realizing ideas that exist in a separate space from Immortal Bird", and that has me intrigued.
Right off the bat, this EP is significantly different than anything she has ever done before. The opening track "The Amorphic Burden" alone runs the gamut of alternative rock, post-metal, and small tinges of black metal. The dynamics in this song are beautiful; the way this song flows between the more melodic and subdued parts and the more intense and heavy sections is particularly well done. I'm really loving the melodies in this song as well. "The Amorphic Burden" proves the point that metal can have hooks and still be kickass.
Written by: Heavy Grinder
When a friend tells you a band is a mash of Tool, Rush, Jerry Cantrell, plus some post-Black, well, the only appropriate response is “I’ll fucks.” You are virtually obligated to give it a spin and see if the hype sticks, as it is a no-lose situation. If the band lives up, well then you have gold in your ears. If not, you have an opportunity to rib your buddy for being overly dramatic.
The over-dramatization wins in this case, as Gates to the Morning is not a perfect mash of the above legends. That does not mean it disappoints either, because the above combination is a unicorn sasquatch, never to be seen in the flesh. Gates presents an intriguing mix of styles not normally associated with one another. The progressive element clearly is dominant throughout, and the Black influences end up being only a small part of the piece, leaving echoes of an old early 90’s alternative feel to balance out the sound. The melodies in "My Star" and "Two Winters" would fit right in on a Toad the Wet Sprocket LP if played on a backbeat in 4/4. That’s no insult, Toad is a great band and I loved how well Gates gels their influences together.
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.
The good Capt. Graves is back in business, fresh off the wild festivities resulting from the Advent Varic signing release announcement. He seems to be mightily impressed with this one, which is...uncharacteristic. But we'll take it. - Ed.
Written by: Capt. Graves
Some things are worth the wait. Izthmi's new record (The Arrows Of Our Ways) is definitely one of those things.
I normally hate soundscapes, but this band really does them right. The long intro has me torn because I hate them. With this one, however, I'm reminded of catastrophe, and gloom. Then the black metal, high treble guitars come in, and I'm taken for that spin into darkness and despair. The bass guitar stands out in the mix, and I'm down for this ride into the bleak. Acoustic guitars with harsh black metal belching from the guts of a madman, indeed. This vocalist is a monster, a savage, and we all know how well that sits with me.
Here is a feature we slumbering scribes have dragged, kicking and screaming, back from the grave. A year back, desperate for some entertainment of the visual persuasion, we here at the Sleeping Village constructed ourselves a venue, of sorts--a public playhouse designed to house the raunchiest productions around. After a single feature presentation, however, said venue promptly fell into disuse and ruin. A shame, really, because in this world of underground metal, there are a good many videos worth checkin' out. Thus: now is the time for revitalization.
Push aside the cobwebs and vines, dear reader. Kick away the decaying ravens and piles of loam; the show is about to begin. Today, for your viewing pleasure, the Sleeping Village is pleased to present the music video for Belong, title track and lead single from L'Homme Absurde's forthcoming third album. It's a killer track and impressive video, and, before we get too far ahead of ourselves, I wholeheartedly recommend you watch for yourself:
Providing thoughtful reviews of music that is heavy, gloomy, and loud enough to wake us from slumber. Written by a groggy-eyed, highfalutin peasantry.
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