Review: Sleepbomb ‘Songs In The Key Of Conan’
San Franciscans Sleepbomb are favourites here at The Shaman, with myself especially having reviewed 2025’s The Sleeping Deadand 2023’s The Cabinet Of Dr Caligari. The band also has a Faith No More connection; both works, as well as this latest album put out by Billy Gould’s Koolarrow Records, were always going to endear me to them.
According to the promotional notes, this time Sleepbomb are ‘re-conceiving’ John Milius’ 1983 classic Conan the Barbarian starring Arnold Schwarzenegger, which launched the then relatively unknown Austrian bodybuilder’s movie career. The record’s line-up is Charles Hernandez (guitars, Robert Johnson (drums/percussion) and Tim Gotch (bass/synths), with contributions courtesy of Claire Hamard (vocals/clarinet/keyboards), Matt Pankuch (horns/percussion) and K.R. Morrison (percussion).
Forged In Steel features primitive tribal drumming, appropriate given the movie’s ancient setting, while the guitars drone away deliciously in the background. If you heard this kind of track during the movie, you’d be witnessing the hero’s preparation for an imminent confrontation, and that is what is so brilliantly conjured here. Blood On The Snow features Claire Hamard’s haunting vocals and music, which has had to take on a much heavier tone in order to compete. No longer content to linger in the background, as implied by the track’s title, the crunching guitars are full-on battle-hardy, a wonderful contrast to its predecessor.
My Father’s Sword has a post-punk flavour, think the early works of The Cure on albums like Faith and Garlands by The Cocteau Twins; all that’s missing is the latter’s Elizabeth Fraser, divine. Wheel Of Pain is reminiscent of underrated Aussie psych doom outfit Holy Serpent, there’s a sombre jazzy tinge too, recalling Morphine’s 1993 masterpiece Cure For Pain, a remarkable number.
A Gift Of Crom takes a folkier turn, kind of how Blood Ceremony utilise the genre, minus the bombast of course; even someone like me can appreciate the sound here, despite not being an especial fan of that genre. The Price Of Knowledgeis a gorgeously disjointed affair, laden with dark ambient goodness of which Lustmord would be proud. Two Fools Who Laugh At Death nods its head towards the works of proggy soundtrack legends Goblin with its retro late ‘70s charm and The Serpent’s Eye adopts cinematic post-rock that is laden with a brooding intensity; imagine a much darker, metallic Godspeed! You Black Emperor, it’s that good.
crushing apocalyptic post-metal in the vein of Through Silver In Blood era Neurosis, stunning…
All The Gods Cannot Sever Us is akin to the blackened noir jazz of Bohren & der Club of Gore, the horns wailing sexily away producing an aural orgasm, unexpected but also not unwelcome. Fangs Of The Serpent, meanwhile, is EXACTLY what you’d expect from the band, atmospheric post-doom metal that hits the mark. Ascending The Steps features prominent synth work ala John Carpenter, something which is always appreciated, while The Tree Of Woe is crushing apocalyptic post-metal in the vein of Through Silver In Blood era Neurosis, stunning.
Fear The Night builds tension continuously, leaving one remorselessly breathless, and yet it all manages to sound so effortless, impressive. The Pyre is the record’s shortest number at just over two minutes, an interlude in effect, like a ghostly No Quarter and Live Forever has quite the Sabbathian groove and is positively infectious. Temple On Fire concludes the album on an epic note, pounding drums, ethereal vocals, drone-laden guitars, the gangs all here, and boy am I grateful for that.
At over an hour, this is a dense listening experience which requires patience and perseverance, but which ultimately proves rewarding. Sleepbomb have delivered the goods yet again.
Label: Koolarrow Records
Band Links: Official | Facebook | Bandcamp | Spotify | Instagram
Scribed by: Reza Mills
