#allthemwitches — Public Fediverse posts

#psychlona #howlinggiant #allthemwitches #stonerdoom #psychedelic #blacklung

Your Future Ex @[email protected] · 2026-03-08 · 11:31 UTC

For #SlowSunday:

#BlackLung: Forever Beyond

#psychlona #howlinggiant #allthemwitches #stonerdoom #psychedelic #blacklung

Your Future Ex @[email protected] · 2026-03-08 · 11:31 UTC

For #SlowSunday:

#BlackLung: Forever Beyond

#psychlona #howlinggiant #allthemwitches #stonerdoom #psychedelic #blacklung

Your Future Ex @[email protected] · 2026-03-08 · 11:31 UTC

For #SlowSunday:

#BlackLung: Forever Beyond

#psychlona #howlinggiant #allthemwitches #stonerdoom #psychedelic #blacklung

Your Future Ex @[email protected] · 2026-03-08 · 11:31 UTC

For #SlowSunday:

#BlackLung: Forever Beyond

https://allthemwitches.bandcamp.com/album/lightning-at-the-door

#slowsunday #blacklung #psychedelic #stonerdoom #allthemwitches #howlinggiant

Iñaki de Miguel Díaz :verified_aroace: 🔻:neurodiversity: @[email protected] · 2026-01-01 · 10:42 UTC

que bonísimos son!

#bandcamp #AllThemWitches #desertrock #rock #blues #psychedelicStonerRock #stoner

#bandcamp #allthemwitches #desertrock #rock #blues #psychedelicstonerrock

Pipo Blasfemia @[email protected] · 2025-11-19 · 23:33 UTC

Ojo que todo lo ve de Dios
Empaca tus tiendas para viajar
Por las tierras bajas
Deja tus martillos, hermano

Por pasajes abiertos
Sentí que mi aliento se volvía superficial
Préstame una voz, oh Dios
Para gritar, vociferar y bramar

Mastica tu amor y luego trágalo

Tres estrellas están clavadas arriba
Aullando su esperanza en la sombra
Bajadas con ojos cansados
Y ordenan a sus ovejas que las sigan

Mastica tu amor y luego trágalo

https://www.youtube.com/watch?v=hEFEpPeprfY

#AllThemWitches #Rock #BadassMagic

#allthemwitches #rock #badassmagic

United States News Beep @[email protected] · 2025-11-05 · 13:20 UTC

Howling Giant – Crucible & Ruin Review

Howling Giant occupies such an odd place within its sce…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #4.0 #AllThemWitches #AmericanMetal #Anciients #Baroness #Crucible&Ruin #CryoftheAfflicted #Entertainment #Helmet #HighonFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #psychedelicrock #review #reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche
https://www.newsbeep.com/us/273055/

#newsbeep #news #us #usa #unitedstates #unitedstatesofamerica

United States News Beep @[email protected] · 2025-11-05 · 13:20 UTC

Howling Giant – Crucible & Ruin Review

Howling Giant occupies such an odd place within its sce…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #4.0 #AllThemWitches #AmericanMetal #Anciients #Baroness #Crucible&Ruin #CryoftheAfflicted #Entertainment #Helmet #HighonFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #psychedelicrock #review #reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche
https://www.newsbeep.com/us/273055/

#torche #stonerrock #stonermetal #stonerdoommetal #sergeantthunderhoof #reviews

Angry Metal Guy @[email protected] · 2025-11-05 · 11:52 UTC

#2025 #40 #AllThemWitches #AmericanMetal #Anciients #Baroness #CrucibleRuin #CryOfTheAfflicted #Helmet #HighOnFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #PsychedelicRock #Review #Reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche

By Dear Hollow

Howling Giant occupies such an odd place within its scene. The Nashville collective is stoner metal and psych rock to the core in an energetic way that recalls the down-and-dirty acts like High on Fire or Mastodon, but layers of melody and creative chord usage feel progressive a la Intronaut or Baroness and the triple vocal harmonies are catchy yet evasive, not unlike Torche or Helmet. They also don’t take things too seriously, with a solid sense of humor and a relatable relationship with fans to bring their formidable technical skill to earth.1 Now a release removed from the formidable debut full-length The Space Between Stars and even more from the Black Hole Space Wizard suite, Howling Giant proves their worth once more.

To address the elephant in the room, Glass Future saw Howling Giant’s progressive tendencies flying their freak flag too much. While attempting to keep the stoner murk and reconcile it with aptly crystalline melody, the band lost what is so great about them: solid songwriting. It’s completely contrary to what gave them the edge over genre mates Sergeant Thunderhoof in their dueling split – their head-first dabbling in more elusive chord progressions felt like a more stoner-inclined dime-store version of Intronaut’s Habitual Levitations. This is what makes third full-length Crucible & Ruin so refreshing:2 it’s everything you love about the Nashville now-quartet – and more. The template of killer riffs, soaring choruses, searing solos, and stoner haze is amplified by new guitarist/synth player Adrian Zambrano – adding layers and textures to Howling Giant’s already winning formula.

Howling Giant feels reinvigorated with Crucible & Ruin. Songwriting prowess on full display, the kitchen sink of riff, solo, melody, and catchiness has never looked so clean. While some remnants of Glass Future hang around in more evasive chord structures and emphasis on melody (instrumental “Lesser Gods”), the tracks shift from the anthemic to the kickass, rounded out by the understated Helmet-esque triple-vocal attack – a potentially divisive element of Howling Giant’s sound –3 and that warm stoner haze. Chunky riffs dominate and add a jolt of energy (“Hunter’s Mark,” “Beholder I: Downfall”), while anthemic choruses and transcendent chord progressions take listeners to a psychedelic heaven (“Archon,” “Archivist”). Southern fried bluesy vibes a la All Them Witches also grace the vibe with a backwoods atmosphere (“Beholder II: Labyrinth,” “Melchor’s Bones”), paying homage to their home state of Tennessee. All assets culminate in the two parts of “Beholder,” the Phrygian key giving them a more epic and grandiose feel.

With the addition of Zambrano, Howling Giant has never felt so fleshed out. Compared to the flashy vocals and melodies of Sergeant Thunderhoof, Howling Giant has always been a meat-and-potatoes type of band, but Crucible & Ruin finds the band building upon this template using more versatility in its musical arsenal. Layers of melodic overlays grace rhythmic punch a purpose and intensity (“Canyons,” “Scythe and Scepter”), the tasteful balance between the melodic and the skronky add intrigue and madness (“Hunter’s Mark,” “Archon,” “Beholder I: Downfall”), and ethereal atmosphere is built atop and duels with more downtuned riffs and bass (“Lesser Gods,” “Archivist,” “Beholder II: Labyrinth”). The dueling guitars add a much-needed and ridiculously tantalizing dimension that takes Howling Giant’s already solid sound to new heights.

Howling Giant’s vocal approach of hyper harmonies will remain a divisive element, the central riff and spoken word of “Melchor’s Bones” can get a bit repetitive, and instrumental “Lesser Gods” is a bit questionable, but don’t let that distract you from the fact that it’s the band’s best album to date. Crucible & Ruin distills everything that makes Howling Giant great and beefs it up, weaponizing their already formidable songwriting with Zambrano’s melodic and textural synth and fretwork. Featuring riffs upon riffs with complex songwriting that doesn’t fly over listeners’ heads, relatable vocals that don’t lose their punch, and new guitar work that takes the band to new heights, across a forty-eight-minute runtime that zips by, it’s hard not to bob your head. While comparisons to Mastodon, Baroness, and Anciients are fair, Howling Giant is its own beast, an intersection of stoner haze, riffy intensity, and melodic taste. Crucible & Ruin caught me by surprise in the best way, and is sure to appear at year-end.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Magnetic Eye Records
Websites: howlinggiant.bandcamp.com | howlinggiant.com | facebook.com/howlinggiant
Releases Worldwide: October 31st, 2025

Show 3 footnotes

Even their artwork was created by guitarist/vocalist Tom Polzine’s mother, Susan M. Davies, who has contributed artwork in the past. ↩
Fourth full-length if you count Black Hole Space Wizard, Part 2 in its qualifying length. ↩
Their ubiquitous harmonies remind me of the post-hardcore band Cry of the Afflicted. ↩

#allthemwitches #americanmetal #anciients #baroness #crucibleruin #cryoftheafflicted

Angry Metal Guy @[email protected] · 2025-11-05 · 11:52 UTC

#2025 #40 #AllThemWitches #AmericanMetal #Anciients #Baroness #CrucibleRuin #CryOfTheAfflicted #Helmet #HighOnFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #PsychedelicRock #Review #Reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche

By Dear Hollow

Howling Giant occupies such an odd place within its scene. The Nashville collective is stoner metal and psych rock to the core in an energetic way that recalls the down-and-dirty acts like High on Fire or Mastodon, but layers of melody and creative chord usage feel progressive a la Intronaut or Baroness and the triple vocal harmonies are catchy yet evasive, not unlike Torche or Helmet. They also don’t take things too seriously, with a solid sense of humor and a relatable relationship with fans to bring their formidable technical skill to earth.1 Now a release removed from the formidable debut full-length The Space Between Stars and even more from the Black Hole Space Wizard suite, Howling Giant proves their worth once more.

To address the elephant in the room, Glass Future saw Howling Giant’s progressive tendencies flying their freak flag too much. While attempting to keep the stoner murk and reconcile it with aptly crystalline melody, the band lost what is so great about them: solid songwriting. It’s completely contrary to what gave them the edge over genre mates Sergeant Thunderhoof in their dueling split – their head-first dabbling in more elusive chord progressions felt like a more stoner-inclined dime-store version of Intronaut’s Habitual Levitations. This is what makes third full-length Crucible & Ruin so refreshing:2 it’s everything you love about the Nashville now-quartet – and more. The template of killer riffs, soaring choruses, searing solos, and stoner haze is amplified by new guitarist/synth player Adrian Zambrano – adding layers and textures to Howling Giant’s already winning formula.

Howling Giant feels reinvigorated with Crucible & Ruin. Songwriting prowess on full display, the kitchen sink of riff, solo, melody, and catchiness has never looked so clean. While some remnants of Glass Future hang around in more evasive chord structures and emphasis on melody (instrumental “Lesser Gods”), the tracks shift from the anthemic to the kickass, rounded out by the understated Helmet-esque triple-vocal attack – a potentially divisive element of Howling Giant’s sound –3 and that warm stoner haze. Chunky riffs dominate and add a jolt of energy (“Hunter’s Mark,” “Beholder I: Downfall”), while anthemic choruses and transcendent chord progressions take listeners to a psychedelic heaven (“Archon,” “Archivist”). Southern fried bluesy vibes a la All Them Witches also grace the vibe with a backwoods atmosphere (“Beholder II: Labyrinth,” “Melchor’s Bones”), paying homage to their home state of Tennessee. All assets culminate in the two parts of “Beholder,” the Phrygian key giving them a more epic and grandiose feel.

With the addition of Zambrano, Howling Giant has never felt so fleshed out. Compared to the flashy vocals and melodies of Sergeant Thunderhoof, Howling Giant has always been a meat-and-potatoes type of band, but Crucible & Ruin finds the band building upon this template using more versatility in its musical arsenal. Layers of melodic overlays grace rhythmic punch a purpose and intensity (“Canyons,” “Scythe and Scepter”), the tasteful balance between the melodic and the skronky add intrigue and madness (“Hunter’s Mark,” “Archon,” “Beholder I: Downfall”), and ethereal atmosphere is built atop and duels with more downtuned riffs and bass (“Lesser Gods,” “Archivist,” “Beholder II: Labyrinth”). The dueling guitars add a much-needed and ridiculously tantalizing dimension that takes Howling Giant’s already solid sound to new heights.

Howling Giant’s vocal approach of hyper harmonies will remain a divisive element, the central riff and spoken word of “Melchor’s Bones” can get a bit repetitive, and instrumental “Lesser Gods” is a bit questionable, but don’t let that distract you from the fact that it’s the band’s best album to date. Crucible & Ruin distills everything that makes Howling Giant great and beefs it up, weaponizing their already formidable songwriting with Zambrano’s melodic and textural synth and fretwork. Featuring riffs upon riffs with complex songwriting that doesn’t fly over listeners’ heads, relatable vocals that don’t lose their punch, and new guitar work that takes the band to new heights, across a forty-eight-minute runtime that zips by, it’s hard not to bob your head. While comparisons to Mastodon, Baroness, and Anciients are fair, Howling Giant is its own beast, an intersection of stoner haze, riffy intensity, and melodic taste. Crucible & Ruin caught me by surprise in the best way, and is sure to appear at year-end.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Magnetic Eye Records
Websites: howlinggiant.bandcamp.com | howlinggiant.com | facebook.com/howlinggiant
Releases Worldwide: October 31st, 2025

#allthemwitches #americanmetal #anciients #baroness #crucibleruin #cryoftheafflicted

Angry Metal Guy @[email protected] · 2025-11-05 · 11:52 UTC

#2025 #40 #AllThemWitches #AmericanMetal #Anciients #Baroness #CrucibleRuin #CryOfTheAfflicted #Helmet #HighOnFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #PsychedelicRock #Review #Reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche

By Dear Hollow

Howling Giant occupies such an odd place within its scene. The Nashville collective is stoner metal and psych rock to the core in an energetic way that recalls the down-and-dirty acts like High on Fire or Mastodon, but layers of melody and creative chord usage feel progressive a la Intronaut or Baroness and the triple vocal harmonies are catchy yet evasive, not unlike Torche or Helmet. They also don’t take things too seriously, with a solid sense of humor and a relatable relationship with fans to bring their formidable technical skill to earth.1 Now a release removed from the formidable debut full-length The Space Between Stars and even more from the Black Hole Space Wizard suite, Howling Giant proves their worth once more.

To address the elephant in the room, Glass Future saw Howling Giant’s progressive tendencies flying their freak flag too much. While attempting to keep the stoner murk and reconcile it with aptly crystalline melody, the band lost what is so great about them: solid songwriting. It’s completely contrary to what gave them the edge over genre mates Sergeant Thunderhoof in their dueling split – their head-first dabbling in more elusive chord progressions felt like a more stoner-inclined dime-store version of Intronaut’s Habitual Levitations. This is what makes third full-length Crucible & Ruin so refreshing:2 it’s everything you love about the Nashville now-quartet – and more. The template of killer riffs, soaring choruses, searing solos, and stoner haze is amplified by new guitarist/synth player Adrian Zambrano – adding layers and textures to Howling Giant’s already winning formula.

Howling Giant feels reinvigorated with Crucible & Ruin. Songwriting prowess on full display, the kitchen sink of riff, solo, melody, and catchiness has never looked so clean. While some remnants of Glass Future hang around in more evasive chord structures and emphasis on melody (instrumental “Lesser Gods”), the tracks shift from the anthemic to the kickass, rounded out by the understated Helmet-esque triple-vocal attack – a potentially divisive element of Howling Giant’s sound –3 and that warm stoner haze. Chunky riffs dominate and add a jolt of energy (“Hunter’s Mark,” “Beholder I: Downfall”), while anthemic choruses and transcendent chord progressions take listeners to a psychedelic heaven (“Archon,” “Archivist”). Southern fried bluesy vibes a la All Them Witches also grace the vibe with a backwoods atmosphere (“Beholder II: Labyrinth,” “Melchor’s Bones”), paying homage to their home state of Tennessee. All assets culminate in the two parts of “Beholder,” the Phrygian key giving them a more epic and grandiose feel.

With the addition of Zambrano, Howling Giant has never felt so fleshed out. Compared to the flashy vocals and melodies of Sergeant Thunderhoof, Howling Giant has always been a meat-and-potatoes type of band, but Crucible & Ruin finds the band building upon this template using more versatility in its musical arsenal. Layers of melodic overlays grace rhythmic punch a purpose and intensity (“Canyons,” “Scythe and Scepter”), the tasteful balance between the melodic and the skronky add intrigue and madness (“Hunter’s Mark,” “Archon,” “Beholder I: Downfall”), and ethereal atmosphere is built atop and duels with more downtuned riffs and bass (“Lesser Gods,” “Archivist,” “Beholder II: Labyrinth”). The dueling guitars add a much-needed and ridiculously tantalizing dimension that takes Howling Giant’s already solid sound to new heights.

Howling Giant’s vocal approach of hyper harmonies will remain a divisive element, the central riff and spoken word of “Melchor’s Bones” can get a bit repetitive, and instrumental “Lesser Gods” is a bit questionable, but don’t let that distract you from the fact that it’s the band’s best album to date. Crucible & Ruin distills everything that makes Howling Giant great and beefs it up, weaponizing their already formidable songwriting with Zambrano’s melodic and textural synth and fretwork. Featuring riffs upon riffs with complex songwriting that doesn’t fly over listeners’ heads, relatable vocals that don’t lose their punch, and new guitar work that takes the band to new heights, across a forty-eight-minute runtime that zips by, it’s hard not to bob your head. While comparisons to Mastodon, Baroness, and Anciients are fair, Howling Giant is its own beast, an intersection of stoner haze, riffy intensity, and melodic taste. Crucible & Ruin caught me by surprise in the best way, and is sure to appear at year-end.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Magnetic Eye Records
Websites: howlinggiant.bandcamp.com | howlinggiant.com | facebook.com/howlinggiant
Releases Worldwide: October 31st, 2025

#allthemwitches #americanmetal #anciients #baroness #crucibleruin #cryoftheafflicted

Angry Metal Guy @[email protected] · 2025-11-05 · 11:52 UTC

#2025 #40 #AllThemWitches #AmericanMetal #Anciients #Baroness #CrucibleRuin #CryOfTheAfflicted #Helmet #HighOnFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #PsychedelicRock #Review #Reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche

By Dear Hollow

Howling Giant occupies such an odd place within its scene. The Nashville collective is stoner metal and psych rock to the core in an energetic way that recalls the down-and-dirty acts like High on Fire or Mastodon, but layers of melody and creative chord usage feel progressive a la Intronaut or Baroness and the triple vocal harmonies are catchy yet evasive, not unlike Torche or Helmet. They also don’t take things too seriously, with a solid sense of humor and a relatable relationship with fans to bring their formidable technical skill to earth.1 Now a release removed from the formidable debut full-length The Space Between Stars and even more from the Black Hole Space Wizard suite, Howling Giant proves their worth once more.

To address the elephant in the room, Glass Future saw Howling Giant’s progressive tendencies flying their freak flag too much. While attempting to keep the stoner murk and reconcile it with aptly crystalline melody, the band lost what is so great about them: solid songwriting. It’s completely contrary to what gave them the edge over genre mates Sergeant Thunderhoof in their dueling split – their head-first dabbling in more elusive chord progressions felt like a more stoner-inclined dime-store version of Intronaut’s Habitual Levitations. This is what makes third full-length Crucible & Ruin so refreshing:2 it’s everything you love about the Nashville now-quartet – and more. The template of killer riffs, soaring choruses, searing solos, and stoner haze is amplified by new guitarist/synth player Adrian Zambrano – adding layers and textures to Howling Giant’s already winning formula.

Howling Giant feels reinvigorated with Crucible & Ruin. Songwriting prowess on full display, the kitchen sink of riff, solo, melody, and catchiness has never looked so clean. While some remnants of Glass Future hang around in more evasive chord structures and emphasis on melody (instrumental “Lesser Gods”), the tracks shift from the anthemic to the kickass, rounded out by the understated Helmet-esque triple-vocal attack – a potentially divisive element of Howling Giant’s sound –3 and that warm stoner haze. Chunky riffs dominate and add a jolt of energy (“Hunter’s Mark,” “Beholder I: Downfall”), while anthemic choruses and transcendent chord progressions take listeners to a psychedelic heaven (“Archon,” “Archivist”). Southern fried bluesy vibes a la All Them Witches also grace the vibe with a backwoods atmosphere (“Beholder II: Labyrinth,” “Melchor’s Bones”), paying homage to their home state of Tennessee. All assets culminate in the two parts of “Beholder,” the Phrygian key giving them a more epic and grandiose feel.

With the addition of Zambrano, Howling Giant has never felt so fleshed out. Compared to the flashy vocals and melodies of Sergeant Thunderhoof, Howling Giant has always been a meat-and-potatoes type of band, but Crucible & Ruin finds the band building upon this template using more versatility in its musical arsenal. Layers of melodic overlays grace rhythmic punch a purpose and intensity (“Canyons,” “Scythe and Scepter”), the tasteful balance between the melodic and the skronky add intrigue and madness (“Hunter’s Mark,” “Archon,” “Beholder I: Downfall”), and ethereal atmosphere is built atop and duels with more downtuned riffs and bass (“Lesser Gods,” “Archivist,” “Beholder II: Labyrinth”). The dueling guitars add a much-needed and ridiculously tantalizing dimension that takes Howling Giant’s already solid sound to new heights.

Howling Giant’s vocal approach of hyper harmonies will remain a divisive element, the central riff and spoken word of “Melchor’s Bones” can get a bit repetitive, and instrumental “Lesser Gods” is a bit questionable, but don’t let that distract you from the fact that it’s the band’s best album to date. Crucible & Ruin distills everything that makes Howling Giant great and beefs it up, weaponizing their already formidable songwriting with Zambrano’s melodic and textural synth and fretwork. Featuring riffs upon riffs with complex songwriting that doesn’t fly over listeners’ heads, relatable vocals that don’t lose their punch, and new guitar work that takes the band to new heights, across a forty-eight-minute runtime that zips by, it’s hard not to bob your head. While comparisons to Mastodon, Baroness, and Anciients are fair, Howling Giant is its own beast, an intersection of stoner haze, riffy intensity, and melodic taste. Crucible & Ruin caught me by surprise in the best way, and is sure to appear at year-end.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Magnetic Eye Records
Websites: howlinggiant.bandcamp.com | howlinggiant.com | facebook.com/howlinggiant
Releases Worldwide: October 31st, 2025

#allthemwitches #americanmetal #anciients #baroness #crucibleruin #cryoftheafflicted

Angry Metal Guy @[email protected] · 2025-11-05 · 11:52 UTC

#2025 #40 #AllThemWitches #AmericanMetal #Anciients #Baroness #CrucibleRuin #CryOfTheAfflicted #Helmet #HighOnFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #PsychedelicRock #Review #Reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche

By Dear Hollow

Howling Giant occupies such an odd place within its scene. The Nashville collective is stoner metal and psych rock to the core in an energetic way that recalls the down-and-dirty acts like High on Fire or Mastodon, but layers of melody and creative chord usage feel progressive a la Intronaut or Baroness and the triple vocal harmonies are catchy yet evasive, not unlike Torche or Helmet. They also don’t take things too seriously, with a solid sense of humor and a relatable relationship with fans to bring their formidable technical skill to earth.1 Now a release removed from the formidable debut full-length The Space Between Stars and even more from the Black Hole Space Wizard suite, Howling Giant proves their worth once more.

To address the elephant in the room, Glass Future saw Howling Giant’s progressive tendencies flying their freak flag too much. While attempting to keep the stoner murk and reconcile it with aptly crystalline melody, the band lost what is so great about them: solid songwriting. It’s completely contrary to what gave them the edge over genre mates Sergeant Thunderhoof in their dueling split – their head-first dabbling in more elusive chord progressions felt like a more stoner-inclined dime-store version of Intronaut’s Habitual Levitations. This is what makes third full-length Crucible & Ruin so refreshing:2 it’s everything you love about the Nashville now-quartet – and more. The template of killer riffs, soaring choruses, searing solos, and stoner haze is amplified by new guitarist/synth player Adrian Zambrano – adding layers and textures to Howling Giant’s already winning formula.

Howling Giant feels reinvigorated with Crucible & Ruin. Songwriting prowess on full display, the kitchen sink of riff, solo, melody, and catchiness has never looked so clean. While some remnants of Glass Future hang around in more evasive chord structures and emphasis on melody (instrumental “Lesser Gods”), the tracks shift from the anthemic to the kickass, rounded out by the understated Helmet-esque triple-vocal attack – a potentially divisive element of Howling Giant’s sound –3 and that warm stoner haze. Chunky riffs dominate and add a jolt of energy (“Hunter’s Mark,” “Beholder I: Downfall”), while anthemic choruses and transcendent chord progressions take listeners to a psychedelic heaven (“Archon,” “Archivist”). Southern fried bluesy vibes a la All Them Witches also grace the vibe with a backwoods atmosphere (“Beholder II: Labyrinth,” “Melchor’s Bones”), paying homage to their home state of Tennessee. All assets culminate in the two parts of “Beholder,” the Phrygian key giving them a more epic and grandiose feel.

With the addition of Zambrano, Howling Giant has never felt so fleshed out. Compared to the flashy vocals and melodies of Sergeant Thunderhoof, Howling Giant has always been a meat-and-potatoes type of band, but Crucible & Ruin finds the band building upon this template using more versatility in its musical arsenal. Layers of melodic overlays grace rhythmic punch a purpose and intensity (“Canyons,” “Scythe and Scepter”), the tasteful balance between the melodic and the skronky add intrigue and madness (“Hunter’s Mark,” “Archon,” “Beholder I: Downfall”), and ethereal atmosphere is built atop and duels with more downtuned riffs and bass (“Lesser Gods,” “Archivist,” “Beholder II: Labyrinth”). The dueling guitars add a much-needed and ridiculously tantalizing dimension that takes Howling Giant’s already solid sound to new heights.

Howling Giant’s vocal approach of hyper harmonies will remain a divisive element, the central riff and spoken word of “Melchor’s Bones” can get a bit repetitive, and instrumental “Lesser Gods” is a bit questionable, but don’t let that distract you from the fact that it’s the band’s best album to date. Crucible & Ruin distills everything that makes Howling Giant great and beefs it up, weaponizing their already formidable songwriting with Zambrano’s melodic and textural synth and fretwork. Featuring riffs upon riffs with complex songwriting that doesn’t fly over listeners’ heads, relatable vocals that don’t lose their punch, and new guitar work that takes the band to new heights, across a forty-eight-minute runtime that zips by, it’s hard not to bob your head. While comparisons to Mastodon, Baroness, and Anciients are fair, Howling Giant is its own beast, an intersection of stoner haze, riffy intensity, and melodic taste. Crucible & Ruin caught me by surprise in the best way, and is sure to appear at year-end.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Magnetic Eye Records
Websites: howlinggiant.bandcamp.com | howlinggiant.com | facebook.com/howlinggiant
Releases Worldwide: October 31st, 2025

#torche #stonerrock #stonermetal #stonerdoommetal #sergeantthunderhoof #reviews

Parasight @[email protected] · 2024-08-06 · 06:22 UTC

Πραγματικά ενοχλητικό το ότι διαρκεί μόνο 3,5 λεπτά...

#music #μουσική #ERisNowPlaying #rockmusic #psychedelicrock #allthemwitches #songoftheday #whattheshufflerdraggedin
https://invidious.incogniweb.net/watch?v=9GBGbSimN24

#music #μουσική #erisnowplaying #rockmusic #psychedelicrock #allthemwitches

Parasight @[email protected] · 2024-08-06 · 06:22 UTC

Πραγματικά ενοχλητικό το ότι διαρκεί μόνο 3,5 λεπτά...

#music #μουσική #ERisNowPlaying #rockmusic #psychedelicrock #allthemwitches #songoftheday #whattheshufflerdraggedin
https://invidious.incogniweb.net/watch?v=9GBGbSimN24

#music #μουσική #erisnowplaying #rockmusic #psychedelicrock #allthemwitches

Parasight @[email protected] · 2024-08-06 · 06:22 UTC

Πραγματικά ενοχλητικό το ότι διαρκεί μόνο 3,5 λεπτά...

#music #μουσική #ERisNowPlaying #rockmusic #psychedelicrock #allthemwitches #songoftheday #whattheshufflerdraggedin
https://invidious.incogniweb.net/watch?v=9GBGbSimN24

#music #μουσική #erisnowplaying #rockmusic #psychedelicrock #allthemwitches

Parasight @[email protected] · 2024-08-06 · 06:22 UTC

Πραγματικά ενοχλητικό το ότι διαρκεί μόνο 3,5 λεπτά...

#music #μουσική #ERisNowPlaying #rockmusic #psychedelicrock #allthemwitches #songoftheday #whattheshufflerdraggedin
https://invidious.incogniweb.net/watch?v=9GBGbSimN24

#whattheshufflerdraggedin #songoftheday #allthemwitches #psychedelicrock #rockmusic #erisnowplaying

Angry Metal Guy @[email protected] · 2024-07-16 · 11:19 UTC

Lord Buffalo – Holus Bolus Review

By Cherd

Four long years ago, just at the onset of the Great Plague, in the face of uncertainty and anxious hand-wringing, I found myself agreeably distracted for the briefest of moments by Lord Buffalo’s sophomore LP Tohu Wa Bohu. These Austin, Texas boys culled fruit from the darker corners of Americana music and spat out an oaky mélange of gothic country-psych rock that spoke to the sullen farm boy in me. The Plague has since waned to a sniffle, but there’s still plenty of uncertainty and anxious hand-wringing when one surveys the news headlines. Can Lord Buffalo once again pull me away from doom scrolling long enough to fall under their Middle American spell? I’ll say this for them, they have a way with album titles. Tohu Wa Bohu is the Hebrew for the phrase “formless and empty” found in the book of Genesis. Meanwhile, Holus Bolus1 is an antiquated term that means “all at once.” Thankfully, the band is consistent in more than just obscure rhymes.

Many of the same influences from their earlier albums are still embedded on Holus Bolus. There’s the obligatory burnt offering at the altar of David Eugene Edwards, particularly his Wovenhand iteration, as well as Nick Cave, both for his work with the Bad Seeds and his excellent film scores with Warren Ellis. I noted in my review of Tohu Wa Bohu that one could hear hints of Timber Timbre in a song or two. That aspect of their sound has expanded on Holus Bolus, especially in the vocals of Daniel Jesse Pruitt. That said, Lord Buffalo has landed on a more cohesive sound on this outing, pruning the occasional rabbit trails down in favor of a compact compositional range and tying it all together with a warm but close-sounding production job absolutely saturated with off-kilter reverb of both instruments and vocals.

In my review four years ago, I expressed hope that Lord Buffalo’s next record would see them surpass the sum of their influences and hit on their own unique perspective. I’d say they’ve done so. They’ve leaned hard into the atmospheric side of their approach, upping both the Americana earthiness and trippy psychedelia. Case in point is the deceptively majestic “Malpaisano,” which starts as a languid, haunted country elegy before a heavily distorted keyboard and horn section elevates it to an otherworldly plane. Two songs later, a natural companion piece presents itself in “Cracks in the Vermeer.”2 Where the latter was almost a vignette of stately sadness, “Cracks in the Vermeer” is fleshed out into a full song, with a first half deeply depressive, yet gentle, giving way to a funereal chant and the darkest stretch of the album. It’s not all dolor and ennui on Holus Bolus, tho. The leadoff title track is a propulsive rock song full of banally apocalyptic imagery, from empty strip malls to prairie fire kindling. Meanwhile, second advance single “I Wait On the Door Slab” gathers the various threads of the album and binds them into six minutes of twisting gothic folk and doom rock. Each of these songs is a complete thought, as well as a brick in the lyrical wall Lord Buffalo builds across the album.

So far, so great, but as good as all this material is, I have a niggling issue with the overall album composition. This is a slight album, at just under 40 minutes. Not a problem in itself, but the two longest tracks are instrumentals. The first one, “Slow Drug,” fits the album’s mood and style wonderfully, with an odd swagger and heavily distorted vocal humming that integrates well with Holus Bolus’ other affectations. The problem is that it falls second in the track listing, derailing the momentum set by the fantastic opener. It would flow better later in the runtime. With one instrumental, and a good one, already under their belt, Lord Buffalo close with the seven-plus minute “Rowing In Eden,” which is unfortunately the one throwaway track on an otherwise stellar set of songs. It’s not bad on its own, tapping into the same haunted atmosphere as the rest of the album, but the time could have been better spent expanding the lyrical content of this missive on the American landscape at the twenty-first-quarter-century mark.

Lord Buffalo have taken a significant step forward forging their own take on the gothic Americana sound with Holus Bolus. That said, the album composition holds this back from becoming the jaw-dropping statement I’m now convinced they have in them. They remain an exciting contemporary of acts such as Wailin’ Storms and All Them Witches, and I’ll happily follow them wherever they go next.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Blues Funeral Recordings
Websites: lord-buffalo.bandcamp.com | facebook.com/lord.buffalo.band
Releases Worldwide: July 12th, 2024

#2024 #35 #AllThemWitches #AmericanFolkRock #Americana #BluesFuneralRecordings #DavidEugeneEdwards #FolkRock #GothicAmericana #HolusBolus #Jul24 #LordBuffalo #NickCave #NotMetal #Review #Reviews #TimberTimbre #WailinStorms #Wovenhand

#allthemwitches #americanfolkrock #americana #bluesfuneralrecordings #davideugeneedwards #folkrock

Angry Metal Guy @[email protected] · 2024-07-16 · 11:19 UTC

Lord Buffalo – Holus Bolus Review

By Cherd

Four long years ago, just at the onset of the Great Plague, in the face of uncertainty and anxious hand-wringing, I found myself agreeably distracted for the briefest of moments by Lord Buffalo’s sophomore LP Tohu Wa Bohu. These Austin, Texas boys culled fruit from the darker corners of Americana music and spat out an oaky mélange of gothic country-psych rock that spoke to the sullen farm boy in me. The Plague has since waned to a sniffle, but there’s still plenty of uncertainty and anxious hand-wringing when one surveys the news headlines. Can Lord Buffalo once again pull me away from doom scrolling long enough to fall under their Middle American spell? I’ll say this for them, they have a way with album titles. Tohu Wa Bohu is the Hebrew for the phrase “formless and empty” found in the book of Genesis. Meanwhile, Holus Bolus1 is an antiquated term that means “all at once.” Thankfully, the band is consistent in more than just obscure rhymes.

Many of the same influences from their earlier albums are still embedded on Holus Bolus. There’s the obligatory burnt offering at the altar of David Eugene Edwards, particularly his Wovenhand iteration, as well as Nick Cave, both for his work with the Bad Seeds and his excellent film scores with Warren Ellis. I noted in my review of Tohu Wa Bohu that one could hear hints of Timber Timbre in a song or two. That aspect of their sound has expanded on Holus Bolus, especially in the vocals of Daniel Jesse Pruitt. That said, Lord Buffalo has landed on a more cohesive sound on this outing, pruning the occasional rabbit trails down in favor of a compact compositional range and tying it all together with a warm but close-sounding production job absolutely saturated with off-kilter reverb of both instruments and vocals.

In my review four years ago, I expressed hope that Lord Buffalo’s next record would see them surpass the sum of their influences and hit on their own unique perspective. I’d say they’ve done so. They’ve leaned hard into the atmospheric side of their approach, upping both the Americana earthiness and trippy psychedelia. Case in point is the deceptively majestic “Malpaisano,” which starts as a languid, haunted country elegy before a heavily distorted keyboard and horn section elevates it to an otherworldly plane. Two songs later, a natural companion piece presents itself in “Cracks in the Vermeer.”2 Where the latter was almost a vignette of stately sadness, “Cracks in the Vermeer” is fleshed out into a full song, with a first half deeply depressive, yet gentle, giving way to a funereal chant and the darkest stretch of the album. It’s not all dolor and ennui on Holus Bolus, tho. The leadoff title track is a propulsive rock song full of banally apocalyptic imagery, from empty strip malls to prairie fire kindling. Meanwhile, second advance single “I Wait On the Door Slab” gathers the various threads of the album and binds them into six minutes of twisting gothic folk and doom rock. Each of these songs is a complete thought, as well as a brick in the lyrical wall Lord Buffalo builds across the album.

So far, so great, but as good as all this material is, I have a niggling issue with the overall album composition. This is a slight album, at just under 40 minutes. Not a problem in itself, but the two longest tracks are instrumentals. The first one, “Slow Drug,” fits the album’s mood and style wonderfully, with an odd swagger and heavily distorted vocal humming that integrates well with Holus Bolus’ other affectations. The problem is that it falls second in the track listing, derailing the momentum set by the fantastic opener. It would flow better later in the runtime. With one instrumental, and a good one, already under their belt, Lord Buffalo close with the seven-plus minute “Rowing In Eden,” which is unfortunately the one throwaway track on an otherwise stellar set of songs. It’s not bad on its own, tapping into the same haunted atmosphere as the rest of the album, but the time could have been better spent expanding the lyrical content of this missive on the American landscape at the twenty-first-quarter-century mark.

Lord Buffalo have taken a significant step forward forging their own take on the gothic Americana sound with Holus Bolus. That said, the album composition holds this back from becoming the jaw-dropping statement I’m now convinced they have in them. They remain an exciting contemporary of acts such as Wailin’ Storms and All Them Witches, and I’ll happily follow them wherever they go next.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Blues Funeral Recordings
Websites: lord-buffalo.bandcamp.com | facebook.com/lord.buffalo.band
Releases Worldwide: July 12th, 2024

#2024 #35 #AllThemWitches #AmericanFolkRock #Americana #BluesFuneralRecordings #DavidEugeneEdwards #FolkRock #GothicAmericana #HolusBolus #Jul24 #LordBuffalo #NickCave #NotMetal #Review #Reviews #TimberTimbre #WailinStorms #Wovenhand

#wovenhand #wailinstorms #timbertimbre #reviews #review #notmetal

Moshville Times @[email protected] · 2024-07-06 · 18:19 UTC

Festival Review: Hellfest 2024 – Day 1

Hellfest 2024 was the second edition I ever attended, this time as press. It's been a privilege to have been granted an accreditation for the four days and I intended to honour my commitments from the day I received this e-mail. I then checked out the bands that would talk to me the mos

https://www.moshville.co.uk/reviews/gig-review/2024/07/festival-review-hellfest-2024-day-1/

#GigReviews #AllThemWitches #Brujeria #GreenLung #Morne #Sylvaine

#sylvaine #morne #greenlung #brujeria #allthemwitches #gigreviews

Moshville Times @[email protected] · 2024-07-06 · 18:19 UTC

Festival Review: Hellfest 2024 – Day 1

Hellfest 2024 was the second edition I ever attended, this time as press. It's been a privilege to have been granted an accreditation for the four days and I intended to honour my commitments from the day I received this e-mail. I then checked out the bands that would talk to me the mos

https://www.moshville.co.uk/reviews/gig-review/2024/07/festival-review-hellfest-2024-day-1/

#GigReviews #AllThemWitches #Brujeria #GreenLung #Morne #Sylvaine

#sylvaine #morne #greenlung #brujeria #allthemwitches #gigreviews

Moshville Times @[email protected] · 2024-07-06 · 18:19 UTC

Festival Review: Hellfest 2024 – Day 1

Hellfest 2024 was the second edition I ever attended, this time as press. It's been a privilege to have been granted an accreditation for the four days and I intended to honour my commitments from the day I received this e-mail. I then checked out the bands that would talk to me the mos

https://www.moshville.co.uk/reviews/gig-review/2024/07/festival-review-hellfest-2024-day-1/

#GigReviews #AllThemWitches #Brujeria #GreenLung #Morne #Sylvaine

#gigreviews #allthemwitches #brujeria #greenlung #morne #sylvaine

OccuWorld @[email protected] · 2024-06-15 · 22:49 UTC

All Them Witches - "1X1" [Official Video]

stop killing
start growing

#allthemwitches #1x1 #psychedelic

OccuWorld @[email protected] · 2024-06-15 · 22:49 UTC

All Them Witches - "1X1" [Official Video]

stop killing
start growing

#allthemwitches #1x1 #psychedelic

OccuWorld @[email protected] · 2024-06-15 · 22:49 UTC

All Them Witches - "1X1" [Official Video]

stop killing
start growing

#allthemwitches #1x1 #psychedelic

OccuWorld @[email protected] · 2024-06-15 · 22:49 UTC

All Them Witches - "1X1" [Official Video]

stop killing
start growing