 Written by: Izzy
Let’s address the elephant in the room. This album sounds a lot like Deftones, but let’s make an important distinction in Loathe’s music. While Deftones are certainly capable of being aggressive, both on their new and old material, Loathe’s blending of metalcore’s raw energy and ferocity works beautifully to contrast the softer sections and make them feel especially intense, this interplay between tones elevates the listening experience of the entire album to new heights. Rather than creating cascading landscapes where these sounds weave together as Deftones would, Loathe are more interested in forging roads with sharp twists and turns through both beauty and musical invective. The one-two of the vicious "Broken Vision Rhythm" attack, and the otherworldly slow-dance of "Two Way Mirror," provides a perfect example of this knack for hairpin changes of tone and sonic scenery; a trick the album doesn’t use once, but pulls again later with the hauntingly beautiful "Is It Really You?" transitioning into the most hideously relentless, breakneck song on the entire album, "Gored." Despite the sudden transformation, everything on display here is crafted so tastefully that these shifts feel very natural and flow into one another gracefully.
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Given the wide display of personal taste we've curated amongst our cabal of scribes, it's not often that the Sleeping Village as an entity is collectively all a-buzz about the same album. But Ulcerate's high-quality track record is, in many ways, a great unifier. Thusfar, their career has been a remarkably blemish-free endeavor. Moreover, their continued reinvention of extreme metal motifs has led to some of the best examples of genre-melding madness the metal community has had the joy of witnessing. It seems, frankly, that they can do no wrong, and--spoiler alert--Stare Into Death And Be Still only further cements their status as legends. Equal parts technically adept and emotionally bombastic, this album is going to be seeing the light at the end of the tunnel on quite a few year end lists. Mark my words.
To assess Ulcerate's latest offering, two Village-dwellers--Izzy and Loveloth-- took up the pen to express their views, making for a rare double review 'round these parts. Without further ado, I'll let them do the talking. 
Written by: Heavy Grinder
What do you do when a band makes music you like but has a name you don’t particularly care for? You fucking get over it. Neck of the Woods have a campy band name that seems more apt for a pop country act positioning themselves as the band next door. You know, the one you want to have a beer with and eat fried chicken or whatever. I don’t remember being particularly moved when Sacha Dunable crooned about ‘waiting for the other shoe to drop’ on Blood from a Stone; a perfect example of why in Metal, idioms and folksy phrases should be used sparingly or avoided. But we’ll just assume there is something very Metal going on in those woods or there is some profound hidden meaning to the name that eludes my simple mind. 
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: Vattghern
I tend to lie to myself, pretending my procrastination isn’t as bad as it is. The moment when the truth hits me like a bus is usually when work has piled up to a giant tower of Jenga blocks, about to collapse in seconds. So, as the weeks of collapsing Jenga towers have passed and my studies have come to a temporary halt, I can shift my focus to procrastinating again. And a fruitful product of said procrastination is this heavily delayed review of Raphael Weinroth-Browne's debut Worlds Within. Despite my love for the distorted and noisy sounds of metal in hectic and stressful times, music like Worlds Within is balm for my soul. It is the type of music that is rather easy on the ears, yet has an endless depth to it. But before we get into the meat and potatoes of the Canadian cellist’s solo debut, one thing should be noted: While this is Weinroth-Browne's first big venture as a solo artist, he’s far from an unknown face in the metal and rock scene. Either because of his insanely talented cello covers of modern prog classics (“Bleed” by Meshuggah or “Harvest” by Opeth, to name a few,) or through his influential work with bands like the neo-folk project Musk Ox and Norwegian prog masters Leprous, which included Weinroth-Browne as an integral part of their live and studio performances. 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: Capt. Graves (and his grisly extraterrestrial compatriots)  As I smoke my cigarette, I feel better than I have in hours. The only thing that's changed? That album isn't playing. Remmirath reminds me of a bunch of angry dads: "Clean your room!" "Where's my screwdriver?" American Football-style leads really make us cringe. A couple surf rock and disco breaks make me want to hate them even more. This is the kind of music I want to like, but hate with every last bit of my being. If you put video game sounds inside of a shit black metal band, this is what you get. Never will we listen to this album again. I think I broke my ears giving them an ounce of my time. The guy rooting around in his garage really spoke to my hate. Some weird soundtrack to a horrible acid trip, and then I just lost control. Remmirath - Shambhala Vril Saucers was released March 2015 from Todestrieb Records 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: Izzy Where do I even begin with this. This album. This fuckin’ album. It is a MONSTROSITY and an ABOMINATION and a cruel joke against nature, God, and all that is holy. And I fucking LOVE it. Listen, if you’ve never heard of these guys before, don’t feel bad, neither had I until a couple weeks ago. But listening to this album was a life changing experience. You think Dillinger Escape Plan is strange? That’s cute. You think Psyopus is weird? That’s adorable. You think Genghis Tron is wildly outlandish? That’s gosh diddly darn PRECIOUS.  Yogyakarta, Indonesia is a long way from the humble halls of the Sleeping Village, but, much like the plague that riddles our haggard inhabitants, proggy melodeath knows no borders. In that spirit, we’re breaking out the latest single from Yogyakarta’s own Goddess of Fate. “The Orchard Gardener” represents a tidy breakdown of composition: in the band’s words, “this single is 50% progressive metal and 50% ‘everything else.’” And I’ll be damned, that somehow isn’t mere hyperbole. While the blend may not appear entirely seamless, Goddess of Fate rip it up with a meaty conglomerate of blastbeats, melodeath riffing, tech shredding, acoustic-backed chanting, harsh screams, and (prerequisite) proggy passages. A distinctly jig-esque riff forms the bookends, lending the 7-and-a-half-minutes an epic quality that stretches across the entirety.
 Written by: Loveloth In an ocean of similar sounding post-everything bands, Astronoid clearly stand out. Each time I listen to them, I go to places, places that are far above all our tellurian and insignificant issues. While this feeling of elation isn't something new to me, Astronoid awaken something very specific in me. Despite existing for seven years now, Astronoid grabbed a lot of people's attention back in 2016 when they burst on to the scene with their debut Air, which brimmed with energy and creativity. It was a really good record so I wondered how their follow-up will sound, and I got my answer recently in the shape of Astronoid. I was a bit confused why they opted for such a simple title but after acquainting myself well with the record I realized what they were going for. But more on that later. For the uninitiated, Astronoid revel in reverb, delay-heavy guitar work which, when combined with Brett Boland's falsetto's and Matt St. Jean's energetic and fast drumming, creates an ethereal and otherwordly atmosphere, but it's still intense and vivacious. I'll admit that this doesn't sound very original but make no mistake, as soon as you hear them, you'll realize they're something special. And while I didn't agree with them being labeled as "dream thrash" before, it definitely makes more sense now. You see, unlike Air, Astronoid doesn't rely as much on blastbeats or aggression. Instead, the band opted for a more varied and even punky (regarding the drums) approach.What we get is something that isn't that much different from Air, but it needs not be because of the quality the band possesses.  The record sets off with "A New Color" which is standard Astronoid business. It's fast, uplifting, has wonderful guitar harmonies, and Boland's characteristic vocals that you'll either love or hate due to his higher register and often usage of falsetto that is akin to Agent Fresco, Arcane Roots and most importantly Mew, who are a big inspiration to the band. Funnily enough "A New Color" is actually one of the weaker tracks but serves as a nice segway into the more interesting stuff that is down the line. "Lost" is one of those tracks. Be it the gorgeous build-up, breathtaking breakdown or that nasty riff, this track is Astronoid at their best. Their sense of crafting sprawling and richly ambient compositions is superb and that sense of wonder I mentioned never left me, even when on repeated listens. Beauty and elusiveness hides all over Astronoid and I am certain that everyone will be reminded of different things when listening to it. However, there is fair deal of repetition on this record but Astronoid use it as another tool for immersion and it works most of the time. "I Wish I Was There While The Sun Set" is a solid example of this but I need to mention that break near the fourth minute mark which caught me off guard because it reminds me of Motorhead that played post-rock. That bass tone is too good to ignore. Speaking of which, the production. Magnus Lindberg (of Cult Of Luna) did an excellent job with the mastering but it would be pointless if the mix wasn't as good as it is. Drums are punchy but not overpowering (that snare sounds amazing), the bass is rich and chunky but is in that sweet spot between the guitars and the drums, you know, the place where it should be. The vocals are above everything but don't suffocate the instrumentation. What I am trying to say is that I really like how this record sounds.  Now, back to the introductory paragraph. I think the band chose the name Astronoid because it perfectly represents them as a band and the journey that led them to this point where they are at. It's obvious, but you can hear that youthful passion, energy and drive in the songs and I do love hearing genuine art because it's not as common nowadays. There is one issue that is holding this record back a bit though, and it has to do with Boland and his one-note approach to vocals. I sincerely hope he changes things up, or that the band adds more of them on their next release. Overall, Astronoid may not possess that shock value Air had, but it's still a worthy successor to one of the most exciting debuts in recent memory. "Water", "Fault", "Ideal World" or "Breathe" all show a band that is confident and love what they do. I just hope they exit their comfort zone a bit. In any case, I am excited for their future, just as I was almost three years ago. History repeats itself. Astronoid - Astronoid was released Feb 1st. from Blood Music Written by: Loveloth and Lichtmensch  Chicxulub - The Fossil Record is the second full-length album by Norwegian progressive extreme metal band Endolith. In contrast to their debut album that dealt with rather cold, esoteric themes, Chicxulub is a concept album on, as the band calls it, more “tangible” themes: dinosaurs, fossils and the Chicxulub crater buried under the Yucatán Peninsula in Mexico where an asteroid or comet hit and set off the extinction of the dinosaurs. Whether you want to call these topics “tangible” or not - they are definitely interesting and pretty unique. More on that later. Musically speaking, Chicxulub is a brutal and progressive death metal album with lots of interesting stylistic elements that result in a very unique sound. Featuring the strings of the Arctic Philharmonic Chamber Orchestra, and guest musicians on timpani and solo viola including world famous violinist Henning Kraggerud, the album has a very grand and epic dimension to it, which contrasts and complements the ferocious death metal basis of its sound. When we at the Sleeping Village got the promo for this album, two of our writers were very interested in reviewing it--Loveloth and Lichtmensch. And since we could not decide who should write it, we had an idea: Why not write a review together? So, here it is: The first edition of TwofoldTreatise--two critics, one album. Lichtmensch: Okay, let’s start this review by talking about the dinosaur in the room. This is an album about the extinction of the dinosaurs. Pretty metal, if you ask me. I find it rather interesting that I have never heard a metal album about dinosaurs before, actually. Loveloth: Ever since I was a wee lad, dinosaurs fascinated me. So much in fact, I wanted to be a palaeontologist but life panned out differently. In any case this should be right up my alley. Prog hybrid record about dinosaurs? Yes please, I’ll have one of those to get my mezosoic fix before The Ocean release Phanerozoic II. Lichtmensch: Dude, this sounds exactly like my biography. I also wanted to be a paleontologist and my childhood was reigned by dinosaurs. I still know most of their names and have a rather great amount of completely useless knowledge about them. Dinosaurs are freaking cool, man. So, what were some of your initial impressions when listening to this album?  Loveloth: Same here my dude, Walking with… series were a constant companion back in my youth so now I understand why both of us were so interested in this. Glad you asked, I liked the record and I am ready to discuss. Before we start that, a question. What bands do Endolith remind you of? Lichtmensch: That’s a very good question. I got strong Devin Townsend vibes throughout the album. The wall-of-sound approach to songwriting the band uses frequently on this record is very akin of Devin’s approach in my opinion. Some of the proggier death metal sections made me think of Rivers of Nihil’s latest album and lots of the rest, e. g. the clean vocal choruses, as well as some of the riffs, reminded me of Extol, another Norwegian prog-death band. How about you? Lichtmensch: Interesting, I’m a huge Devy fanboy and didn’t hear a lot of his influence here, apart from the production like you mentioned. For me though, Endolith remind me of an angrier, shriekier The Ocean mixed with Meshuggah (some of those riffs man), Extol (good call btw) and Dimmu Borgir and Septicflesh due to The Arctic Philharmonic Chamber Orchestra lending a hand, or thirty eight to be more exact. Judging by our descriptions (and please do judge, we’re totally in the right), this is a weird band, so what stood out for you the most? Lichtmensch: First of all, I agree 100% on the Meshuggah part. Totally forgot to mention them, they came to my mind, as well. Yes, weird is a good word to describe them. I can’t even pinpoint one particular thing that stood out to me. The lyrics, the atmosphere, the combination of orchestral elements, death metal and those melodic sections - there’s so much interesting stuff going on in this album. I think the first thing that really struck me when I listened to it for the first time was how prominent the orchestral elements are in the band’s sound and how well they fit in with the djenty extreme metal riffs. The clean vocals were another element that really pleasantly surprised me. Loveloth: It’s quite a dense package, that’s for sure but Endolith make it work, not only that but constantly throw curveballs at the listener for good measure. The addition of the orchestra was an excellent call as it adds another layer of atmosphere and since we’re dealing with that pesky asteroid which wiped out the dinosaurs, that grand scope which the strings, brass, percussion and woodwinds provide comes in really handy. I’ll be honest and state how I wasn’t particularly impressed with Chicxulub after my first listen but it grew on me as I started wrapping my head around all the mayhem that is present here. Take “Nest Scrape Display” for example, and how its thrashy beat clashes with a very Shuggah riff but as soon as you get used to it, we get a soaring chorus that greatly reminds me of their fellow countrymen In Vain. Endolith are unhinged, ambitious and I like that but I feel the band is yet to achieve their peak. Some things just feel off. Do we share this sentiment? Lichtmensch: Absolutely. My listening experience with this album was interestingly the other way around. Listening to it for the first time was super impressive, but after multiple listens I began to notice some flaws and things I didn’t like all that much. I think this is a great album by a band with lots of potential to become even better in the future. Endolith have a rather unique sound already and I think they’ll be refining it on future releases. I’ll definitely keep an eye on them. Do you have a favourite song on the record or one that stands out to you in any way? Loveloth: I do actually and guess what, it’s the proggiest and longest track, I am of course referring to the title track. It contained the only “oh shit” moments on the record. That breakdown around the three minute mark is nasty but what completely caught me off guard is the return of the record’s main theme that appears in the beginning of “Bloodfiends”. It’s a good and effective trick that works wonders with prog bois such as me. After it, the track morphs into a lengthy and epic outro and this is where Endolith shines the most as they have the time to successfully pull-off every idea they have for the song. And while no song is bad, some are a bit underwhelming like “Mount Evidence” or the final, bluesy track “When The Earth Died Screaming”. The idea is extremely cool but the execution lacks something I can’t quite put my finger on. What’s your favourite? Lichtmensch: I’m not quite sure. The title track is great and I really like “Nest Scrape Display” and “Ichthys” a lot, but I think I have to go with “Diseasons”. I love how ominous and atmospheric it begins and how ridiculously heavy it gets towards the end. The harmonies and melodies on this track are some of the best on the album and it generally feels the most “complete” and thought out to me. Loveloth: “Diseasons” almost ended up as my favourite for reasons you mentioned and I totally agree on it feeling the most “complete”. Regardless of this positives we went through, I still think I should like this more than I do. It has everything I like: paleontology, prog, djent, unconventional songwriting, dynamic vocals, experimentation, an orchestra and fat riffs but I still feel something is stopping the band from creating a true gem and I am yet to pinpoint what and maybe that’s the problem! It’s so hard to define this record and I think that hinders it despite helping it. I know that sounds contradictory but hear me out. Endolith needs to find that is completely theirs to solidify their character and that comes with time, time the band has because despite this flaw, Chicxulub is an enjoyable, quirky and fun journey that I see myself revisiting from time to time. Lichtmensch: I agree on almost everything you mentioned. I enjoyed Chicxulub enough to listen to it many times and never be bored or annoyed by it, but it also didn’t blow me away or become an album I’d call an absolute masterpiece. I see it primarily as an album by a band still figuring out their definitive style and within that framework it’s a very good album. It has its flaws and some edges that would have needed some smoothening, but it’s definitely a lot of fun to listen to and I don’t regret a minute I spent with it. Loveloth: Absolutely, well, think we went through everything, surprised how much we agree on things, must be the palaeontology fixation, in any case, if you are in some need of odd, eccentric and progressive death metal, Chicxulub (unlike the poor dinos) is here and available on every music platform, you know how it goes. Any last words Mr. Soliloquist? Lichtmensch: Life uh.... finds a way. Loveloth: Thus spake the Soliloquist and Loveloth, the two lords of palaentology-laden metal. Chicxulub - The Fossil Record was released on January 18th via Rob Mules Records.
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