Generally, whilst writing a review, I immerse myself in a band's back catalog. In the case of Screamer's four-album discography, that particular exercise feels moot: I already know what color-by-numbers heavy metal sounds like. While that may come off as pretty disparaging--and it is, to a minor degree, because Highway Of Heroes is less than inventive--this consistency in aesthetic ain't bad. Not by a long shot. This haggard scribe can get down with some blatant worship of convention, and in this regard, Screamer are unmatched in their old school heavy metal spirituality. While it did, admittedly, take a few listens to sink in, I'm confident in stating that Highway Of Heroes is one of the year's best entries in NWOBHM and affiliated fun-lovin' categories.
The infamous Captain Graves is back with another review--but this time, he seems to have lessened his blows. Could...could this mean that the Captain be showing a softer side? This must be some kind of ploy. - Ed.
There's been some new additions to the Village since my last visit. I wonder if they're warned of my sadistic ways, or do they just allow them to figure it out on their own? The stoned fools aren't ready for the annihilation that will ensue, warning or not.
Here we have Concilium, an Epic Doom outfit from Boston, MA. We've had the pleasure of playing a couple shows together. They became a sort of sister, and brothers in arms. Helping Advent Varic decimate Salem, and Allston. I had not heard of them before being booked together. As I normally do when booked with bands I don't know, I waited for that live performance to conjure up my opinion. I'd hung out with their singer a few times prior, and had no idea she was the lead vocalist in a band, or maybe she told me when I was drunk. I used to hit the bottle pretty hard. You fucking Earthlings really stress me out... but I digress.
In the drafty scriptorum of this Sleeping Village, power metal--and, by extension, said genre's upper echelon--serves a remarkably utilitarian purpose: pumping us the fuck up. In the turbulent seas of heavy music, very little rivals the charybdian draw of power metal's trademark infectious chest-pounding braggadocio.
As such, regardless of your contradictory opinions, and despite the (generally) bloody subject matter, an untouchable positivity reigns eternal in this particular arena. There's nothing like a little dose of Powerwolf or Judicator or Blind Guardian or Turisas or Falconer or Sabaton to banish a bad mood. Soaring vocals, lusty choral battlecries, meathook melodies, stomping riffage, and the promise of (obnoxiously) omniscient keyboard provide, for better or for worse, a highly energetic and uplifting experience. And, for that alone, power metal has earned a perpetual timeshare in our township.
This review is brought to you courtesy of a good friend of the Sleeping Village--the one 'n' only Brian from Metalhead World. If you aren't familiar, MHW is swiftly becoming a top-notch hub for underground metal reviews, interviews, news, and other assorted miscellany. If you happen to stumble over there after imbibing deep of 1782's doomy offerings, we certainly wouldn't mind. Without further ado:
1782's single "She Was A Witch" caught the attention of a lot of people and swept the doom metal scene like a storm. In the 4 months since, 1782 was quickly signed to Heavy Psych Sounds, released two more singles that introduce their fuzzy riff driven sound and a theme of evil and macabre. It all culminates into the release of 1782's self titled debut.
I awaited this album since it's announced production. I can honestly say that when I first heard the first single, I was so taken aback by it (in a good way), I thought it might be a side project and Scott Ian would have a "gotcha" moment on the album premier. I jokingly expressed this to Marco Nieddu (24moons / Raikinas), the mind behind not only 1782, but also popular doom metal indie label Electric Valley Records, who assured it was the real deal.
The story behind the band name is as follows: In 1782 Anna Goldi was condemned and was subsequently tortured and killed in the process. Anna Goldi's case was the last known Witchcraft trial documented in Europe.
So you know what 1782 is about. How about the album?
As the intro sets the theme of a dark bonfire with church bells (all sounding very authentic), "Night of Draculia" kicks in with a nice fuzzed blend, yet it sounds very crisp. The groove in the breakdown of this and Marcos' distorted vocals set the tone of this album perfectly, but when you hear "The Spell - Maleficium Vitae", you get grabbed and sent strait to hell through the rest of the entire album and you feel it strait to your soul. When the chanting kicks in on The Spell, you realize the energy in this album is effective. And maybe at one point, it might even be a bit much for those that aren't evil purists at heart who might see this as a classy, yet more evil efforts some may have heard in regards to music dealing with the occult.
And that is a bold yet genuine statement from this writer. I personally loved every moment.
We get a cleaner and more polished version of "She Was A Witch" with guest Gabriel Fiori of Black Rainbows which I thought turned out exactly like it should. I was wondering how this would turn out and I was very satisfied with the result.
"Black Sunday" has a riff where the pitch bends, and give a nice demonic sound.
"Oh Mary" is a single many already know. This to me was what set the tone as far as what 1782 is about. With the lyric video you get the idea throughout this album of 1782 doing a show in this very setting. Very classy. Very vintage. Very occult-ic. And the sense of evil is welcoming instead of fearful.
The album closes out with the tracks "1782" and "Celestial Voices," which go out in true fashion for the band. With a hooky and groove driven riff and dark wavering organs straight from Mother Earth herself, this predominant two-song instrumental leaves one last carbon footprint of energy that leaves you wanting more after seeing what this two piece outfit is truly capable of. It just feels good and releasing. These are the type of songs that you would spend alone time with that evil demon of a human in your life.
With the hallmark Sabbath-laden riffs that we have come to know and love, some innovative songwriting (that bass outro in "The Spell"), vocals strait from Satan himself, and percussion beating like a wild heart, 1782 takes it way further than I expected. The songwriting accomplishes everything it was setting out to do as far as the energy involved with an album such as this. Marco did a fabulous job in every step of this masterpiece.
Marco doesn't get all the credit as Gabriele Fancellu played a significant role in providing a wide array of drum work that I would compare to Mark Greening as far as style is concerned. This truly adds the element of magic in this album. Gabriele's efforts on this album is appreciated as it would not be nowhere near the same feel without it.
I thought the self titled Black Sabbath track was one of the creepiest, scariest, dripping with evil, tracks that contained yet a certain type of class and sophistication in the song. I can honestly say 1782 may in the running with this entire album.
The thing about 1782's album, though, is that it's not just an album you play like you would Slipknot or even classics like Pantera. This is an album you listen to at night, preferably early morning, candles lit, lights dimmed or off and just let the energy this half hour album gives take hold and release your inner demon.
While the ol' scriptorium here at the Sleeping Village has been scantly populated this week, fear not. This particular reeve* has spent the past few days embroiled in pre-review fury--i.e., I’ve been listening to a whole lot of good music, so get ready for some appropriately complementary reviews. In the meantime, however, we’d like to direct your attention to a three-track EP that always finds a way to reinsert itself in the rotation. For demo peddlers, Merlock display resolve and remarkable staying power.
Merlock EP is a fun lil’ demo without pretension or sophistication, the kind of music that results when a band throws down and simply plays a blend of genres that pleases them. In the case of Merlock, that formula is equally influenced by the spaced-out aura of psychedelia, and the hard-rockin’ momentum of trad metal. Merlock is subtly off-kilter in the best of ways, an odd amalgamation of The Jesus Lizard’s intrinsic weirdness, and the astral wanderings of Merlin--albeit abbreviated, and sans brass. The result is a kind of caustic, trippy, and rough-around-the-edges stoner doom, and it lights a little fire in my heavy (metal) heart.
While I wholeheartedly recommend you spend the time and give the three tracks herein their due, a personal favorite from this project is opener “Spiral Nemesis.” Constructed around a bouncy and certifiably hooky central riff, this track is particularly effective at presenting a balance between a rock-solid template and a psychedelic edge. While “Spiral Nemesis” is fairly straightforward--despite a slower psych-oriented passage midway through--it never loses its structural integrity. All told, a very enjoyable track, and suitably representative of a sound I’m hoping Merlock will continue to produce. Listen to it here:
*Effectively a village administrator, a position held by a man of otherwise low stature, responsible for overseeing the manorial motley crew. Sleeping Village Reviews: expanding your medieval-specific vocabulary since 2018.