Written by: The Voiceless Apparition
Mortality: the state of being subject to death. A word us humans are all accustomed to, a fact of life that we accept is inescapable. No wonder why death metal bands and artists talk in such detail about it. While other artists outside of the heavy music scene tend to write about things that are more positive and universal, we tend to focus on the darker side. It's a cathartic release, and it helps us cope with the certainty of dying.
Necrot's newest album Mortal may seem like a simple title, but it's much more heavy than just surface-level definitions. This is the Califorinia death metal trio's second album, and it is much anticipated by all, myself included. So with all of this hype and anticipation, does Necrot deliver? We shall see...
Written by: The Administrator
Sometimes, if I'm being frank, writing about stoner doom at length can be a tough affair. The reasons we enjoy the genre can be summed up is a few short thoughts: the riffs are righteous, the tone is massive, and the general vibe is appropriately immersive. To an extent, then, it feels vaguely worthwhile to recommend this album from Indonesian stoner representatives Deathgang on the basis of being yet another good band hangin' out on The Swamp Records' roster. That alone should be enough to wet yer whistle, if you're a fan of the genre in general.
That said, we slumbering scribes are nothing if not loquacious to a fault, and these boys certainly deserve a wordcount befitting their efforts. Despite an adherence to the foundational elements, ...An End To Ill Omens is an intriguing album with some unexpected quirks that I, for one, find quite delightful indeed.
Written by: The Administrator
After receiving official word that my current sequestered life shall extend, at the very least, for another seven months, I decided that it would be worthwhile to rearrange my living space/prison here at the Sleeping Village. Y'know, alter the stuffy environment as much as humanly possible, given a marked inability to go outside.
As such, much furniture hath been moved here within the past few days, and, given a need for a high-octane kick in the ass, the highest quality furniture moving music was required. Crossover thrash was the only thing capable of injecting a little oomph into my disturbingly quarantine-atrophied biceps, and so the debut from Warsaw's Sanity Control--veritable paragons of the modern crossover aesthetic--was spun a disturbing number of times. And here I sit, icing, in hopes that War On Life (or the furniture) didn't push my haggard body beyond the brink. But enough talk. Let's get into it, shall we?
Written by: Blackie Skulless
Nothing like a good ol’ slice of death metal from an area not far from me. Spesimin are an upcoming act out of Philadelphia, PA, and their debut EP Born In The Crypt is an instant burst of in-your-face discomfort. With only thirteen minutes of runtime, they certainly gauge a healthy idea of what they’re all about, as they waste zero time opening on such a harsh kick.
Composition wise, Spesimin injects a surprising amount of thrashier elements. It’s quite riff oriented in that sense, boasting plenty of bounce and energetic life under a harsher mix. This allows for a solid balance between melody and chaos--the former being lesser in quantity. Most of this comes from a crustier, punk-like push that can be heard especially in “Violent Sanctification.” It’s your perfect moshpit banger with plenty of sharp leads breaking the buzzing rhythmic surface.
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.
Written by: Blackie Skulless
Chemicide are an interesting bunch of Costa Rican thrashers. They grew on me a lot because I thought their first album Episodes Of Insanity was incredibly boring and generic. But as they progressed, they got better. Inequality is their third effort, which dropped last year, and I see this as the band finding their sound. They capitalized on blending this aggressive attitude on world injustices and corruption, which made for an awesome outcome.
Part of this growth was figuring out how to utilize repetition for stronger bridges and setting the mood. “Conditioned Liberty” utilizes this with looping solos, pressing harder kicks and lashes to follow that. On the smoother side of things, we also get songs like “Altered Reality” that drive the repetitive licks into a rhythm-dense tune. That then allows room for more vocal clarity, which has such a nasty snarl. This song in particular has a rather steady backbone, so it’s a neat contrast.
Written by: Volt Thrower
Skate rat doomers LáGoon are back again! Following up the maniacal mushroom meltdown of Maa Kali Trip from earlier this year, the two-piece has apparently one-upped into a power trio after seeing the light. They kicked ass as a duo, but have found that missing piece that will really solidify their status in the stoner rock world. Now with their fourth full length and seventh release in just a shade over two years, they remind me of King Blizzard and the Hizzard Whatevers...except LáGoon's music is actually enjoyable.
In all seriousness I do enjoy KG+tLW, I was obsessed with Im in Your Mind Fuzz in 2014/15, but have not been a huge fan of anything else until their latest. LáGoon, however, have been nothing short of a rocketship ascending.
Written by: Arzou
ACxDC (Antichrist Demoncore, for the cool kids - Ed.) is to powerviolence as Gutalax is to goregrind. Extremely popular but disliked by the fans of the genre. After releasing their debut self-titled LP in 2014, people have been waiting for a follow up either with excitement or baited breath, ready to throw “ACxDC bad” comments wherever they can. Well it’s here, ACxDC’s Satan is King has been released with 15 songs and 23 minutes, and I’ll tell you what: if Satan is King then Satan is one milquetoast dude.
You see, another similarity ACxDC have with Gutalax is that they are both, despite their popularity, very mediocre. That parallel still reigns true with this album. It checks all the boxes of a good powerviolence album, blistering and skulldenting riffs, slow and crushing sludgy riffs, the ability to confuse grind babies into thinking it’s grind. Should be a good one, right? Well if you think reading a textbook is really fun then this might be the album for you. Despite all the checked boxes it feels like ACxDC really just did the bare minimum and created a bland and tasteless cake able to be consumed by the masses but unable to be remembered by anyone.
Written by: The Administrator
First things first: Fullmåne's Lurking in the dark is a lo-fi affair--the rawest application of punk-infused black metal you're likely to find whilst trawling through the underground. This is, indeed, a self-described "dark and dirty snapshot of night time drifting, paranoia and drugs." As such, it's only appropriate that we acclimate ourselves accordingly. Prior to starting in, then, let me find my scratchiest quill, my faintest ink, and my poorest quality parchment. I'll remove my cloak as well--better to write with the lingering threat of frostbite. Oh, and let me shut off the lantern for good measure. In the case of today's EP in question, I think it would be better if I worked by the light of the moon.
There, that's settled. Now I'm ready. Are you ready? Good.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!