Hey! We're a record label now!
SLEEPING VILLAGE RECORD’s inaugural release is a compilation of 10 previously released underground stoner doom tracks, curated--as always--by a highfalutin peasantry. Sleeping Village Caravan of Doom (Vol. 1) is an exhibition of like-minded tracks that balance sludgy heft with an earthy stoner atmosphere. These are songs that would feel at home in the midst of a bog or mire, and we’ve brought them together, drenched in murk and algae, for your gloomy enjoyment.
Rather than simply throwing as many artists as possible into the doomy stew, this compilation seeks to bring together and showcase 10 uniquely stellar bands that compliment each other sonically and aesthetically. While the runtime clocks in at a hefty hour and a half, the roster remains slim so that each band has appropriate time to shine.
Sleeping Village Caravan of Doom (Vol. 1) will be released digitally and available for NYOP on October 2nd, with a preorder going live TODAY for the measly sum of $1. All proceeds from this project will be split evenly between the bands and the label, with any of the Sleeping Village’s cut going to fund further compilations (or a possible physical release!)
TRACKLIST as follows:
Fostermother - Destroyers
Dizygote - Children of Talos
Doomfall - Why Fear the Godless
earthdiver - Blood Moon
Green Hog Band - Machine
Old Horn Tooth - Old Horn Tooth
Stonus - Mania
Jointhugger - I Am No One
Black Road - Radiation
Bog Wizard - Swamp Golem
Huge thanks to the Sleeping Village’s resident Volt Thrower for the assistance and much-needed wisdom in putting this together! Thank you also to the bands, who all deserve your love and affection, and lastly to you, who made the launch of this endeavor from the Sleeping Village’s fertile ground a possibility. Enjoy!
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Written by: Blackie Skulless
Lately, I’m noticing a resurgence of death metal bands that really slam that “caveman” description deep into the molding foundations of the once stiff walls. More often than not, you’ll find that in many a doom/death release. Finland’s Proscription consists of band members who have been around for a while, touching many projects in their time. This one paints horrific, drawn-out doomy vocals over music that’s far more blackened death metal oriented, and the outcome is Conduit.
Before diving in head first, you need to know it’s an album that requires the right setting and mood. No distractions, little light, and the hunger for riffs that drag you deeper into the murky depths of unlight. A bit dramatic? Probably. But Proscription are all about the feeling and less about the musical makeup. The entire foundation relies on layers of tremolo picking backed by rumbling bass that can only be felt. The drums are utilized to take precedence when the guitars whine and screech, using agonizing wails to breathe out and force the rhythms behind the kit upward.
Written by: Blackie Skulless
Skeleton are another one of those bands we get a couple of per year that blow up seemingly overnight. Hailing from Austin, Texas, they bring forth a common but solid brand of death/thrash/black metal that touches many a fanbase. Pairing this with the fact that they’re (apparently) big in their local scene, they’ve caused a lot of hype. More often than not, this leads me to disappointment, but thankfully that isn’t the case with their debut record Skeleton.
Getting it out on the table now, this band is all over the place. Certain things can be picked out to observe each style. The riffing aesthetic is from a thrashier standpoint, the drumming and rhythmic integrity comes from the death metal ideals, and the vocals cast blackened mold that seeps into the foundation everywhere else in small doses. But even with that rather stable construct, the songwriting jumps all across the spectrum, running into hell and back. Admittedly, this is Skeleton’s only flaw, seeing how often the mood jumps around. The lack of flow forces the blackened feel to act as the only adhesive.
Written by: Lord Hsrah
This year has brought us doom metal in bunches and numbers so far, and there's much more to come. Different people feel things in different ways, and this impacts their way of translating it into art--music, more specifically. We associate doom metal with a variety of feelings and emotions, which are invoked by the myriad of different forms they are offered by different bands. But with Poema Arcanvs, it's a different ball game altogether, as they bring forth a slamming, crushing and heavy slab of doom that's an abstraction of its own. Ladies and gents, I present to you: Stardust Solitude!
Long standing flagbearers of Chilean doom metal, Poema Arcanvs (pronounced 'arcanus') have acquired a legendary status over the years, having churned out impressive albums, one after the other since their inception in the early 90s. Their sixth offering, Stardust Solitude, is the next in line to be branded with the Poema Arcanvs stamp, and let me tell you, it's an absolute juggernaut! Drawing inspiration from the early works of the famous Peaceville Three (that's My Dying Bride, Anathema, and Paradise Lost for those who don't know) among others, and blending in their own style to create a monstrous fusion of exquisite doom, Stardust Solitude is tailor-made to be this sonic powerhouse whose sole purpose is to beat down on your ears as your brain ejaculates litres of serotonin and adrenaline in your body!
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.
Written by: Lord Hsrah
The last ten or so days have been immensely heavy for me, I must confess. I'm not sure if this is the aftermath of the lockdown or is it just the feelies, but my existential dread and depressive episodes have never been this high before. It's been real doom and gloom hours. These aren't those times when the 3AM feels hit you, you cry yourself to sleep and the next morning you're all ready and up to face whatever's coming at you--no, no, no--these are the hard ones that persist for days. In this absolutely down-and-out period, Australian depressive black metal outfit Cancer's Opioid has been an ethereal companion to me, and while coping has been tough, there's solace in knowing I'm not alone. Let's talk.
Written by: The Voiceless Apparition
Ah, Incantation. For over 30 years these gentlemen have been crafting some of the most malicious, twisted, and downright crushing death metal there is. It's unfortunate that, while they do have the legendary status, they do not get enough credit for what they have done for the scene. Death metal doesn't have to be one-note, and they prove that. So even after twelve albums, one would think a band would simmer down and start to lose their energy and bite. Incantation, however, does the complete opposite, and continues to push their abyss-consuming death metal bludgeoning on their latest studio album. Enter the Sect of Vile Divinities.
"Ritual Impurity (Seven of the Sky is One)" wastes no time with interludes and immediately bludgeons you. The trademark twisted Incantation melodies are there, and it's just a brutal onslaught. The perfect way to open the album. Followup "Propitiation" showcases the band's doomier side. The riffs are a blackened vortex of malice. The melodies are fucking frightening, and the riffs are devastating. I wouldn't expect anything less from them.
Written by: Beaston Lane
Dear readers, I’ve a feeling we’re not in Avatar Country anymore. As the world grapples with the caustic effects of the COVID-19 pandemic and our favorite artists are screwed over by penny-pinching corporations, an island run by fun-loving metal maniacs sure sounds like a great place to be--but that’s not where Avatar takes us on their highly anticipated 8th LP. Hunter Gatherer finds these bombastic Swedish metallers in that bleak headspace so many of us have to confront every morning as we contemplate the increasingly volatile future. Gone are the fables and legends of Avatar’s past, replaced with the nightmares of a planet in crisis. Robust and aggressive, Hunter Gatherer is the sound of one band’s cleansing discharge of years of pent-up anger and anxiety.
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.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!