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Fever by Sleepy Sun

Sleepy Sun


Release Date: Jun 1, 2010

Genre(s): Indie, Rock, Alternative

Record label: ATP


Music Critic Score

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Album Review: Fever by Sleepy Sun

Fairly Good, Based on 4 Critics

Drowned In Sound - 70
Based on rating 7/10

The likes of Black Mountain and Dead Meadow have done a lot to restore the status of dark, heavy, psychedelic rock, crafting epic, sludging riffs that appeals to those on the fringes of both metal and indie – where Black Sabbath meet Crazy Horse perhaps. What most of these bands have in common, apart from an appreciation of the fine art of facial hair – is that they hail from some of the lesser-known musical melting pots – Vancouver and Washington DC – almost as if they’ve been playing this stuff in isolation since a killer party in 1969, and no one’s told them that music has moved on in the meantime. Sleepy Sun follow a remarkably similar path to these bands, but with one big difference.

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Pitchfork - 61
Based on rating 6.1/10

Embrace was the perfect title for the debut LP by California rock'n'roll six-piece Sleepy Sun. The verb felt like a mission statement for the Golden State magpies. A pan-psychedelic rock band, Sleepy Sun seemed intent on tying together the electric and acoustic ends of Led Zeppelin's discography and wrangling its favorites-- British folk, stoner metal, and classic rock among them-- together with the lasso.

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New Musical Express (NME) - 50
Based on rating 2.5/5

The words ‘progressive psychedelia’ are enough to make any grown adult quit their job, high-tail it to rehab and beg for chemical castration. There’s a good reason for this, but it’s not one that California’s [a]Sleepy Sun[/a] have grasped on their second album, the follow-up to last year’s ‘Embrace’. They will. One quick look at the stats from times past should assure you of this.

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BBC Music
Opinion: Very Good

They’ve found a renewed clarity to go with their lozenge-smooth lethargy. Reef Younis 2010 For all of its hazy decadence, Sleepy Sun’s debut, Embrace, was an album rippling with disarming vocal duets and quaking guitars so in sync, you’d be forgiven for thinking they were twinned. But when any song breaking the five-minute barrier is liable to be labelled “progressive” or “stoner rock” by a simple virtue of time and guitars beyond the requisite three chords, shedding the tags is always going to be difficult.

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