siLLy puPPy Like a traveling circus pulling into town and upsetting the normalcy of a small community accustomed to traditions and customs, SLEEPYTIME GORILLA MUSEUM entered the scene of the world of progressive experimental rock and avant-garde metal in late 2001 and like a band of freaks who misbehave in the midst of the law abiding citizens of anywhere small town USA, upset the apple cart like a John Waters film suddenly finding itself being played on the Christian TV network. This band of outsider weirdos which evolved from the antics of Idiot Flesh gathered a new set of talent to unleash an ever evolving musical commitment that mixed performance art with musical expressions that unapologetically defied all categorization and intelligently designed to induce serious head scratching disbelief.

Part avant-prog, part extreme metal and laced with folk, funk, industrial and being 100% demented, SLEEPYTIME GORILLA MUSEUM forever changed the landscape of experimental rock and metal with its debut “Grand Opening And Closing” with its Dadaist musical madness and surrealist visions that incorporated every possible genre into the overall scheme of things. The band regrouped to start album #2 although percussionist David Shamrock who dated back to the Acid Rain days jumped ship and was replaced by newbie Frank Grau. The result was the band’s sophomore effort OF NATURAL HISTORY which found SGM progressing in many ways from its debut release. While the diverse nature of the music continued in the footsteps of its processor, the band became emboldened to tackle even more elements and throw them in the sonic cauldron and boil them all down into a tantalizing concoction of avant-metal splendor.

OF NATURAL HISTORY took on the continuity of a concept album where narrative poetic prose about 20th century anti-humanism found philosophical existentialisms thematically posing the apocalyptic implications of humanity’s existence on planet Earth. With a distinct merging of tracks that seamlessly cede from one distinct mood to another and graced with infallible musical logic, this sophomore album featured an unthinkable roster of 12 tracks that despite extending to nearly 72 minutes of playing time, instantly demanded full attention with authority and once pulled into their gravitational forces upon the listener, refused to release its iron grip until the very finishing touches. While the usual SGM characteristics of yore punctuated every aspect of album #2’s rich palette of ingredients, the band simply refused to stand on its laurels and outdid itself once again. With the addition of many field sample recordings, even more spices were added to the overall recipe.

This time around the band included even more stylistic additions to its already burgeoning musical edifice which in the hands of an ordinary band would crumble like sandcastles in a storm however the musical prowess exhibited by the likes of Nils Frykdahl (guitar, flute, vocals), Carla Kihlstedt (violins, organ, zither, vocals) and Dan Rathbun (bass, lute, trombone, vocals) were of a caliber rarely encountered in the world of experimental music. With the skills of the top classical composers and the creative fortitude of Salvador Dalí, SLEEPYTIME GORILLA MUSEUM was a serious force to be reckoned with. In addition to the band’s eclectic arsenal of traditional instrumentation was the huge array of self-made instruments courtesy of Dan Rathbun, add to that additional session guests who added the touches of xylophone, glockenspiel and a choir’s worth of backing vocalists. If that wasn’t enough the band’s cohesion reached its pinnacle with tight-knit compositions chock filled with complexities reaching stunning perfection.

Starting with a drone that leaves you in suspense for several seconds, the opening “A Hymn To The Morning Star” enters a strange dark Disney-esque type Vaudeville show from another dimension. With Frykdahl offering his best Gothic baritone deliveries, the track evolves through strange complexities that ends in a second droning session that leaves nothing but darkness suspended in your very soul. Ceding as though a single track, the following “The Donkey-Headed Adversary of Humanity Opens the Discussion” builds up a dissonant jangly guitar racket before avant-prog scales start whizzing up and down with industrial sounds and a seeming demonic possession taking hold of Frykdahl’s vocal deliveries. With various cadences of bizarre instrumentation and brutal prog workouts, the track exceeds the already complex nature of the first album and setting the tone for an album equally as dense and filled with strangeness.

“Phthisis” follows with Carla Kihlstedt taking over the vocal duties. The track perfectly demonstrates the stunning contrast the SGM takes on. Sensual angel vocals and a soft pacifying violin groove relentlessly backed up by abrasive metal guitar chugging and the usual time signature brutality. The art of emphasizing sheer beauty and ugly aggression simultaneously is brought to full light on this one although that is the general recipe in the SGM playbook. “Bring Back The Apocalypse” comes off as an industrial horror movie with gurgling sounds emerging from some unknown source and unrecognizable instruments chaotically churning along like popcorn popping. Demonic group singing ensues along with a haunting violin. It sounds like indeed a party for the damned just before judgment day rears its ugly head and wipes humanity out. This track employs Squarepusher inspired IDM (Intelligent dance music) to offer yet another unexpected twist in the continuing saga of SGM.

“FC: The Freedom Club” dials things back a bit by offering a more “normal” respite into the world of progressive rock with xylophone dreams and glockenspiel grandeur paving the way for a heavier rock based anthemic celebration of the demise of humanity through its own technological additions. The track also features one of the most manic aggressive outbursts on the entire album. The form of the track is in a whole other league of composition and beyond brilliant. “Gunday’s Child” offers an even deeper dip into the avant-garde with some sort of bass stringed instrument that falls in and out of tune and torturous avant-prog time signature workouts with so many instruments whizzing around on their own trajectory that only the vocal harmonies tie everything together. The fairy tale singing sessions sound like a demented counterpart to some Disney classic gone totally wrong.

“The 17-Year Cicada” provides a bizarre avant-folk instrumental interlude with lots of creepy insect noises, totally unhinged flute lines and some sort of tribal steel drumming. Essentially a nearly 4-minute canvass to punctuate with unexpected percussion sounds and virtuosic flute wizardry. Next up - “The Creature” which is the most profound track on the entire album. Immediately ushering in an avant-prog time signature workout, the complexities cede to an atmospheric narration about a creature that must consume everything until it finally has to feed upon itself and how the pacifist population does nothing to stop it. Presumably a critique on the nature of corporations and the desire to commoditize every living resource until nothing remains. The track is chock filled with extreme avant-prog workouts all laid out in dynamic logical processions. “What Shall We Do Without Us?” provides another short avant-folk interlude with a brief explosive segment into chaos.

“Babydoctor” is the longest track just barely under 14 minutes and introduces the band to the soundscapes of post-rock and post-metal which keeps all the excesses somewhat tamped down. Perhaps the most easily digestible track although the band still offers lots of variations within a more limited constraint. The album closes with the rather strange love / hate ode to the “Cockroach” which seems to revel in its ability to overcome any obstacle and its survival beyond humanity eminent. Presented in the same Gothic crooner style as the album started it evokes the same Disney gone Vaudville effect and offers the strongest sense of irony on the entire album. The album ends with the 6-minute track “Untitled” which really isn’t a track at all but rather just the sounds of swamp noises and a conversation between what sounds like hillbillies of the Ozarks. While this track is utterly unnecessary it’s not really a part of the album and should be considered a skippable “extra.”


One of the true masterworks of 21st century experimental progressive rock and avant-garde metal, OF NATURAL HISTORY is really an album that it’s almost impossible to comprehend upon the first few listening experiences. While the melodies and grooves are just accessible enough to get your attention, the details and the complexities continue to impress as you navigate through the layers of musical sophistication. On this sophomore release SLEEPYTIME GORILLA MUSEUM proved itself to be one of the most original and creative bands that world of progressive rock and experimental metal had ever encountered. The journey through this album is so rich and packed with ideas that it’s really hard to believe it’s just one release. By fusing so many styles and genres of music and blending it all so proficiently, the band literally ventured into a world of its own making and while experimental avant-garde music is hardly anything new, to create a completely new musical paradigm and master it to a level of proficiency and virtuosity is another matter altogether. This is one of my all time favorite albums and one that really just gets better with time. A true masterpiece in every conceivable way.

Warthur Sleepytime Gorilla Museum's twisted brand of avant-garde metaphysical vaudeville metal is intriguingly presented on Of Natural History, which the band have described as a concept album about a debate between the philosophy of the Futurist and the ideas of the Unabomber. How the repeated chant of "Babydoctooooooooor" or the high church celebration of Satan in A Hymn to the Morning Star fits into all that, I have no idea, but either way the band create a compelling musical territory which maintains an adept balance between keeping things experimental and ensuring the music is still satisfying to listen to, even if it does drag a little towards the end.

Xaxaar Sleepytime Gorilla Museum - Of Natural History

Definitely one of the better avant-garde albums I have heard. The amount of tension this band creates with instrumentation is pretty unreal; it helps settle a truly dark mood. And as some people think the lyrics sound forced, I actually enjoy them quite a lot.

The lyrics tend to have a deeper meaning to them. Take for example "The Creature." This song has a blatantly obvious reference to politics, I think. But even if it is obvious, it does not take away anything from the song. I usually do like when symbolism is not up for interpretation for I see, and I quote the great Devin Townsend, "People going up their own ass." Besides the political themes that travel through the album, the lyrics also help create that atmosphere I like so much. Not only the lyrics, but just the vocals themselves, too. "A Hymn To The Morning Star" shows the range they have and it just makes the album feel that much more unique. "Phthisis" also shows off the talents of Carla as her voice definitely fits the album perfectly. There is definitely a group of talented singers doing the vocals for this album as they know what they're doing.

The band uses their fair share of wacky time signatures, but the way they use them has been so different than what I've heard before...in a good way! Usually when I hear an odd time signature it's just to add some complexity in the music. Sure, I guess you could say that they're doing this too, but what I love about the way they use the time signatures is the tension it builds. Like in "Phthisis," when they skip a beat, for some reason these small details make the album that much more solid for me. It helps create the atmosphere they were looking for, no doubt. Also another thing to take note on is that they don't sound forced. I see bands adding time signatures just for the sake of being complicated and those are usually the type of bands I try to avoid. It just doesn't sound good when you try and make some wacky polyrhythm, it just should come naturally in the unfolding of the music.

I am also quite a big fan of the instrumentation of the album. The use of instruments like the glockenspiel and the xylophone help to that tense atmosphere I keep going back to as it gives a sense of atmosphere. The array of percussion instruments is also a nice touch and is certainly welcomed in the album. As, of course, there are guitars, bass, and drums, they don't take as big of a role as other metal bands. As of course these instruments are used often, they just feel like they compliment the rest of the band, not so much that they ARE the band (as most metal is).

Overall, I really have nothing bad to say about the album; I love everything about it. I have heard complaints that there is too much filler and ambience, but for me that helps the tone further. Plus, the album is fairly lengthy, I think they have some leg-room to just create some haunting aura. If it was a Cynic album, then maybe I would be a bit more concerned they were filling the album with pure ambience. My personal favorites are "The Creature" and "The Donkey-Headed Adversary of Humanity Opens the Discussion," even though I don't think there is one song that I would consider to be a disappointment. All of them are good in their own unique way and help catapult this album to a 4 star rating from me.

Triceratopsoil A ridiculous, crazy piece of work, Of Natural History has possibly the most unique and distinct pieces of music I've ever heard on one album. Sleepytime Gorilla Museum use their signature plethora of homemade instruments to great effect, there are all sorts of slinky, booming or just plain distorted instruments, most of them seeming to be percussion or string based, and they all sound absolutely perfect in conjunction with the music. The lyrics are simultaenously silly (BAY-BEEEE DOCTORRRRR!) and serious, carrying powerful messages in amongst the amusing wordplay.

A wonderfully eclectic album, Of Natural History is perhaps more avant-prog than metal but heavy enough to headbang along to.

Phonebook Eater 7/10

"Of Natural History" sounds like it was written by monsters.

Wow, what an album. It is classified as Avant Prog only because it's "Weird", but really it's unclassifiable. It is so diverse from all the rest of today's music that it really makes you believe that this band is formed by aliens. I picked up this album, together with "In Glorious Times", because I thought I needed to learn something more about RIO. Indeed, "Of Natural History" has taught me quite a lot.

The style is very unique, like I said: avant garde united with metal ,even some growls( they're quite frequent in the album) so it's probably not a really accessible album. We also find some jazz, classical, and a genre that really isn't definable. We also find some sounds and noises, that gives more impact to the album.

Some songs are good, some great, some weirder, some less. The first part of the album is very original, but more melodic and less creepy than the second part. In fact, in this part there is even more experimentation, and the songs are all much more bizarre and puzzling. Especially "BabyDoctor", fourteen minutes of some of the finest avant garde around today. Let's not forget, in the first part, "Phthisis", a very interesting song, so full of emotion that it blows my mind. "FC" is another avant garde masterpiece, full of excellent and unforgettable moments.

I mut say I initially didn't like this album, because I considered it a little too absurd and out of control; plus, I hated the growl parts (I usually like black or death metal), and my favorite moments were a few.

This album, after a while, grew up on me. If you're a RIO or an Avant-Garde Metal fan, consumer, you will for sure appreciate this piece of music.

Earendil The thrill of listening to this music goes beyond a primal rush of adrenaline or even a chilling sense of uneasiness. The emotion is a more complex one that rarely sees the light of day. It is an understanding, a twisted beauty that dares the listener to defy his cultural conditioning and escape for a moment from the accepted standards of society. It's so thrilling because it temporarily breaks the illusion of order and uses the guise of insanity to see society in a truer light. Many people are unable or unwilling to restore sight to themselves, but SGM's music offers the willing a powerful tool to do so. "Morning will come for you at last No matter how far into night you have strayed"

Dismantling the unspoken requirements for "normal" interaction often requires violent measures. Though the rage may be painful at the time, it can achieve a measure of clarity. It isn't selfish or irrational anger, but calculated retaliation against society's constrictions. It certainly is possible to reject societal standards without the anger, but sometimes anger is necessary.

Through the apparent chaos of this music lies a contentedness that is only visible through unobscured vision.

Holy sh*t, this album....

Rating:10/10

thellama73 From the first few second of strange and disturbing sound coming from my speakers when I plopped this album in my stereo, I knew I had come across something wonderful.

"Of Natural History" was my first taste of Sleepytime Gorilla Museum, and ever since I have seen them perform live at every opportunity. There are very few records that truly deserve the tagline "like nothing you've ever heard before," but this is surely one of them. Oh sure, there's some Art Bears and Mr. Bungle in there, but the overall effect is totally unique.

The album opens with Nils Frykdahl's impressive baritone intoning "A Hymn to the Morning Star," interspersed by choruses of creepy falsettos. The tracks immediately gives the album an air of foreboding, which is paid off handsomely in the stunning "The Donkey Headed Adversary of Humanity Opens the Discussion," a furious avant-metal piece in (mostly) 5/4. In fact, the bands inability to stay in one time signature is heard throughout the album, and provides a restless and surreal forward motion.

The other shining star besides Nils is Carla Khilstedt, an incredible singer and violinist. Her chief composition and showcase of her talents is "Phthisis," a powerful number with a steadily rising melody that you think wlll never top out.

The other highlights on the album are too numerous to list, but I would be remiss if I didn't mention the hilarious capper "Cockroach." It must be heard to be believed, and shows that the band does in fact have a sense of humor. "Of Natural History" has quickly become one of my favorite albums by ANY band, and it is a huge improvement upon their debut.