Written by: The Administrator
Given the current state of, well, everything, I've been taking a lot of walks lately. In a world that is seemingly stripping away means of comfort at an increasingly alarming rate, the prospect of fresh air, a little light exercise, and the ability to just leave the stress behind is something to which this particular scribe has clung as the weather becomes more foreboding. A good walk, however, demands a good soundtrack, and while the pure aggression of OSDM or thrash or black metal may do for the confines of our drafty scriptorium, the walk demands something a little more...meditative.
Enter the appropriately entitled "Haunting Mantra," the latest doomgaze-y single from solo guitarist and composer FUZZNAUT. I have been meaning to write a review for this thing since first listen, but better late than never, amiright?
Written by: Izzy
So normally, I like to give a little background in the intro paragraph of my reviews about the band I’m reviewing--some of their history, or how I came to discover the album. But in the case of May Our Chambers Be Full, Emma Ruth Rundle and Thou's recent cooperative album, neither artist is one I’m particularly familiar with, despite their long and storied careers.
Thou are a band by which I’ve briefly listened to a couple albums and previous splits; they’re a very traditional sounding sludge metal band and I was never crazy about them. Not a bad band, but certainly not one that ever amazed me. Emma Ruth Rundle, on the other hand, I knew nothing about previously. After some quick googling I found that she’s made a handful of solo albums to decent acclaim, her style towing the line between singer-songwriter, dream pop, folk, and shoegaze, but has also been a member in post-rock and atmo-sludge bands. She also notably helps run the record label Sargent House, a rather eclectic group of diverse and beloved artists, most notably featuring Chelsea Wolfe and Kristin Hayter (A.K.A. Lingua Ignota.)
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.
Written by: Loveloth
How does a band evoke the feelings of melancholy? The approach varies from genre to genre, but using the minor scale is a definite foundation. After that anything is game, and as a result, any sadboi--like yours truly--has a plethora of options to choose from. The most extreme examples are the DSBM and adjacent black metal genres. There, melancholy manifests through anguish and despair. Tremolo picking, shrieks and blast beats reign as lords, whereas on the opposite side of the spectrum, such as on the notorious pop ballads, we've got clean vocals covered by electronic-based instrumentation with slower paced beats.
I personally don't have any emotional responses when I hear most of that type of stuff due to how they're manufactured and how much they rely on cheap motifs. I realized this when I was a wee lad and as time went on, I searched far and wide for music to comfort, help me contemplate, and of course cope with any hardships I came across. At one point in time, I found myself listening to “Lethean” by Katatonia via a great YouTube recommendation, remember those? I was stunned with its energy and heaviness, and by the time Jonas Renkse's vocals kicked in, I was hooked. To this very day, Dead End Kings remains my favorite album by them and I would honestly put Katatonia right next to Opeth and that dude Devon Townsent as my go-to sadboi band.
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: Carlos
Lesser Glow is a five piece heavy band out of Boston. They hit on everything low and slow--and they hit it hard. You’ll get everything from the nastiest sludge to the most vibrant interludes, all without releasing the gas. Lesser Glow is also comprised of some very accomplished industry professionals, one being a producer for Chelsea Wolfe. But we're not here to talk personnel; we’re here to talk about their upcoming album, Nullity.
Nullity is a follow up to their 2018 debut, Ruined. If you haven’t taken Ruined for a spin I suggest you close this and do just that.
...All right, welcome back. Nullity is built around the idea that mankind is a parasite in this world. Weaving themes of internal conflict, creation myths, and interpersonal relations, this album features a big finish (spoiler alert) in which mankind is wiped from existence. Yes please, void daddy.
As ye eagle-eyed readers may note, we published a review of this very same album, like, just a few days ago. However, we just couldn't deny Izzy--the Sleeping Village's self-proclaimed reviewer of all things screamy, dreamy, and inbetweeny--a chance to discuss the latest opus from Infant Island. Enjoy this review redux! - Ed.
Not too long ago I reviewed Infant Island’s latest EP, Sepulcher, and along with my mountains of praise for the band, I promised I would do a full-length write-up on the LP they had just announced, Beneath. I fully intended on fulfilling that promise, so here we are. I’ve been in love with this Virginia post-hardcore/screamo revival outfit since I first discovered them in 2018 with their self titled album, and so I cannot wait to talk about it. (Despite taking a little over a week to actually write this due to circumstances beyond my control.)
Sepulcher blew my mind, so I came into this with high hopes, and Infant Island certainly delivered. However, this is truly an example of an album I love, but think could’ve been something more, or maybe something else. That said, I want to end this review on a positive note, so I’ll begin with my few complaints.
Written by: Continuous Thunder
I first got into heavy music in my mid-teens, and by “got into heavy music” I mean found music that not only appealed to me, but also bothered my parents. (What’s the point of heavy music if it doesn’t cause your parents genuine concern?) Anyway, way back in the mid-’00s, when I was just a distant rumble, the heavy music of choice for the youths of the day was screamo and metalcore. CD players and primitive iPods were full of the sounds of bands like Underoath, The Used, From First To Last, and The Devil Wears Prada. Jeans were tight, lips were pierced, and hair was long and dyed black. These genres and styles fell out of favor right around the end of the decade, but screamo has had a bit of an underground resurgence in recent years. Infant Island, in particular, are a relatively new band that may prove that the genre isn’t entirely dead.
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.
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:
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!