Written by: Tales_of_deception
Most of the time, singles off of records are my least favorite thing to cover/review, but on the other hand, why not pick one my favorite tracks off a record and talk about that instead? Welcome in Wulfhound. A three-piece doom metal outfit from Tennessee that pulls few punches.
Now, I could be reaching extremely far here but just stay with me, please? Imagine this: Ozzy Osbourne and a sprinkle of Candlemass all wrapped into one giant burrito. Add a vocal style that is a bit similar to a very young Ozzy Osbourne along with what early Candlemass produced, and you have everything you need from Wulfhounds' Riddle In The Dark. In an effort to capture my attention these three giants decided to do what I love in doom metal, and that's build me up until I can't take it anymore. Hitting me right in the chest with the drums and walls of harsh fuzziness from the guitars until those vocals come in and dominate me to the point where I can't say no anymore. Production is on point with a little bit of grit and grain, but still clear enough you can check mark the boxes for what you hear. Their EP is out now so don't believe a damn thing I say, go check out for yourself.
Like I said above, I could be reaching so tell me what you think after you here what I've heard. Riddles In The Dark is streaming below so make sure to push that play button to see what all the glorious noise is about. Want more of Wulfhound? Purchase the record on bandcamp.
Sometimes, a conceptual underpinning is all a song has going for it. Not so in the case of Glow, a walloping track that comes to the Sleeping Village by way of Chicago's own Cloud Cruiser.
Steeped in a thick desert rock fuzz and convincingly constructed around a monolithic central riff, this track chronicles the protagonist--a young man--as he seeks out powers of flight. It's everything one wants out of hard-rockin' desert rock, plain n' simple. A top-notch job in the production job makes for an aggressive low end, and vocals are mournful, gruff, and just reminiscent enough of Red Fang to pass you firmly into the genre's windswept (yet assuredly badass) embrace. It may sound a little trite, but my only critique of this track is that, as a stand-alone, it could definitely use some company. This particular villager eagerly awaits developments in Cloud Cruiser's "I: Capacity" installment.
Give Glow a listen here. For those of you in Chicago, Cloud Cruiser will be playing a show on February 8th at Burlington Bar.
Dirty rock n’ roll--as High n’ Heavy self-describes their genre of choice--invokes a pretty obvious sonic palette: fuzz-ridden guitar, unrestrained bass, cigarette n’ whisky vocals. It’s a form of 70’s worship that works only if you throw yourself wholeheartedly into the aesthetic, and Warrior Queen is a perfect example of that sheer dedication in practice.
With their latest LP, High n’ Heavy creates the medieval equivalent of a biker bar--instead of leather-swaddled Lemmys, picture a crew of six-string wielding knights in rusty armor. If you’re used to clean edges and keen production, look elsewhere. If, however, you like music that remains as fiercely dedicated to the amp as it is to the pipe...your quest is over, friend. High n’ Heavy reminds me of so many different bands from so many different genres, to the extent that listing them all feels, in many ways, counterproductive to actually describing what they sound like. That said, the unrefined edge of early Free or Zeppelin rears a bluesy head, and the Wolfmother vibes are particularly strong, especially in the stylistically overextended vocal delivery. Speaking of vocals, there’s a little bit of Circle Jerk’s gruffness swirling around as well. In terms of the retro scene from which they have spawned, there’s some Killer Boogie in the occasionally boppy riffage, and maybe High Reeper in the general scummy irreverence. Instrumentally, Warrior Queen takes a doomier bent than past outings, with Mike Dudley’s hefty low end bringing the atmosphere to greater depths, and John Steele’s riffage and keys lending the whole affair a deliciously antiquated glow. And while we’re running through the roster, Mr. Perrone keeps things rock-steady whilst maintaining a pleasing presence in the percussion department.
Oftentimes, rock outfits suffer from an unsophisticated spread of talent--in other words, one person clearly rises above the rest. Not so here. As a unit, High n’ Heavy is workmanlike in that everyone seems to contribute substantially to the final product. That said, the vocals are High n’ Heavy’s most unique trait, plain n’ simple. Ranging from the Plant-esque howl of “Grown Tired,” to the punky shouts of “Catapult,” to the discordantly melodic strains of “Lydia,” the variety Kris Fortin brings is impressive, to say the least. A weak moment is evident on the intro to “Join the Day,” where some heavier instrumentation feels necessary to hold his reedy warble, but otherwise, Warrior Queen’s intrinsic rawness is very well balanced.
All told, Warrior Queen is a highly enjoyable album from an understated band, an appropriately grungy dive into the dumpster of rock and stoner trappings. High n’ Heavy’s raw brand is dependent on a certain love for the fundamentally dirty spirit of rock n' roll, and for this commitment alone, I applaud them. Bottom line? This particular villager recommends you strap on your armor, ready your steel, and try the Warrior Queen on for size. While High n’ Heavy don’t smash genre barriers or present monumental songwriting chops, that’s not why they are here. And frankly, that’s not--and forgive me if I'm wrong--why any of us are here either.
High n’ Heavy - Warrior Queen will be released Jan. 25th from Electric Valley Records
This particular Sleeping Village owes a massive debt to Black Sabbath…& not just because we blatantly lifted our moniker from their plunder-worthy supply of deep cuts. Because Sabbath have left such a veritable canyon in the firmament of heavy music, we dedicate every Sunday to exploring their own discography, or to highlighting a lesser-known band that carries the mantle of Sabbathian legacy. Today it's a case of the latter, as we review Fresh Grass, the debut EP from Brooklyn’s GRASS. Slip on those headphones & dim the lights, dear reader; it’s time for Sabbath Sunday.
Let’s not beat around the bush here: Fresh Grass is a remarkable effort. As someone who does battle with a veritable fogbank of stoner metal and doom on a daily basis, take it from me--Grass operate on a very high level of professional musicianship. Frankly, the only real criticism I have to offer is that Fresh Grass is trapped within the miserly confines of an EP. Were there another two or three tracks to flesh things out length-wise, this would constitute one helluva album. But alas, we’re left with a debut that would have blown last year’s Top 10 EP list to smithereens, if only it had entered the Sleeping Village a tad earlier. But that’s enough hyperbole, folks. What’s this thing sound like, anyways?
While they classify themselves as a rock outfit, GRASS plays doom with ample helpings of southern rock’s sleaze and the high-flying swagger of 70’s psychedelia. Permeable groove and simple yet melodic guitar are the name of the game, and, like any devotees of the riff, GRASS keep things moving just low and slow enough to shake foundations. The bass here is of particular note--Josh Peterson’s hefty stylings add a distinct dynamism to the formula. Look to intro track Amnesia / My Wall as a prime case of the bass’s general presence. Here, the riffs are big and the amp is king. And lest they be neglected in our riff-centric musing, the vocals elevate the package wondrously. Phil Anton’s voice is a thing of beauty, combining, somehow, the sultry tones of Jack Bruce’s early-era Cream with the gruff Americana of Clutch’s Neil Fallon. No question: this guy can sing.
The obvious concern with these genre trappings is a certain reliance on repetition, but with subtle variance in tempo and riff structure, each song is imbued with its own character. Take Easy Rider, for example, which remains significantly more laid-back than the hard(er) rockin’ Fire. There’s no real opportunity for boredom to set in, which, given the course of many Sabbathian enterprises, this is no small feat. GRASS have something special on their hands, and if their next release delivers on this promise, we’re in for a show. Need I say it? Fresh Grass comes highly recommended.
GRASS - Fresh Grass will be released Feb. 22nd
Upon fishing Psychlona’s debut from the Global Stoner Conveyor of Kyuss-ian psychedelia, my initial (& unfair) impression was that they sounded a whole lot like Fu Manchu, otherwise known as the okay-ist desert rock group of the decade. Upon further inspection, however, something became remarkably clear: Psychlona is not a middling band. The result? Mojo Rising makes a colorful addition to this year’s coffer of pleasant surprises. While this groovy outfit from northern England does feel, at times, like the aforementioned Foo,’ their sonic radius is actually fairly large, & they possess the ability to reach beyond obvious influences.
Take, for example, the back halves on Big River & Burning Cave, which both sound like Jethro Tull & Merlin (referring to band and warlock both, I suppose) had a multigenerational lovechild. Down In The Valley, a slightly cautious shroomy celebration, (This is the valley where the fungi grew/don’t overdo it boy, just try a few,) exudes that fuzz-bathed early Truckfighters vibe to a tee. Black Dog has that groovy 1000mods riffage similarly pegged, before breaking into a mean solo that remains both appealingly trippy & assuredly grounded. A common pattern here is for the back half of each track to revert into instrumentality, which, while always pleasing, eventually turns monotonous--granted, this from the perspective of decidedly sober critic.
In a similar vein, towards the end of Mojo Risings’ 45 minute length, the tracks become less distinct, & thus less memorable, with little variation in tempo. With that said, this is more a critique of the subgenre in question--ultimately, this Sleeping Villager remains suitably impressed by Psychlona’s abilities, both instrumental & compositional. While the album cover honestly tells a pretty accurate story, this outfit still has some secrets. Despite Ripple Music’s already stacked roster, Mojo Rising is certainly unique enough to merit worthy addition. Recommended both to fans of the genre, & to those of you looking to try a fresh-faced band on for size.
Released Nov. 9th via Ripple Music
Psychlona can be found:
This particular Sleeping Village owes a massive debt to Black Sabbath…& not just because we blatantly lifted our moniker from their plunder-worthy supply of deepcuts. Because Sabbath have left such a veritable canyon in the firmament of heavy music, we dedicate every Sunday to exploring their own discography, or to highlighting a lesser-known band that carries the mantle of Sabbathian legacy. Today it's a case of the latter, as we briefly review Lunar Eclipse, the 2nd EP from @Stonus.band, a stoner doom outfit from Cyprus. Slip on those headphones & dim the lights, dear reader; it’s time for Sabbath Sunday.
Perhaps the ultimate touchstone for stoner doom & space-rock is Planet Caravan. While Stonus runs the gamut from hard rock to blatant psydoom, this EP is a gradual voyage that results in an updated approximation of the universe-traversing aesthetic. Aspirin, the 1st track proper, is a Pagan Altar-eque rocker with muffled vocals, jubilant cymbals, & some wonderfully catchy licks. It’s an enjoyably unpredictable track in & of itself...but then Spiritual Realities kicks into gear, & Stonus deftly maneuvers their way through a tonal shift, demonstrating modern prog leanings à la Tool. Just when you feel like you have some sort of handle on what to expect, the title track leaves firm ground & goes for a bit of a jaunt through the ether. To describe Lunar Eclipse as “chill” feels diminutive, but honestly, this is a supremely laid-back experience--yet still rockin’ enough to facilitate attention to the details.
The intro & outro feel unnecessary & add little to the atmosphere, but as the aforementioned songs are simply outstanding, this is a minor quibble. No bones about it: this EP is a fun & relaxing listen, not least because of the obvious attention paid towards consistent exploration. Stonus may not be innovators & wayfinders per se, but their ability to avoid getting lost in the stereotypical stoner doldrums is incredibly admirable--a trait that sets them far beyond their many colleagues in the genre. Despite sounding familiar, Stonus are genuinely unique.
A certain groggy-eyed, highfalutin' peasantry