#sergeant-thunderhoof — Public Fediverse posts
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Howling Giant – Crucible & Ruin Review
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, 2025Show 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. ↩
#2025 #40 #AllThemWitches #AmericanMetal #Anciients #Baroness #CrucibleRuin #CryOfTheAfflicted #Helmet #HighOnFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #PsychedelicRock #Review #Reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche
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By ClarkKent
At the end of each year, Angry Metal Guy likes to boast of the diverse coalition of readers who flock to these halls from all over the world, including the lone visitor from Vatican City. Just as important as the diverse readership is the diversity in the bands we review. So when Dolphin Whisperer excitedly brought to our attention a promo that would, if reviewed, be our first Uruguayan metal tag, I decided to take up the mantle as explorer to this uncharted frontier. Liminal Space is the debut album from Uruguayan alt-metal act Regina. The quartet first released an EP, Apology, back in 2019, but COVID paused work on any further material until 2024, when they started recording Liminal Space. Of course, music often transcends national boundaries. For one, musical influences are global in reach. For another, as in this case, the making of an album itself can escape borders. While Regina did their recording in Uruguay, the mixing and mastering followed drummer Nicolás Martín as he moved to Canada. That said, let’s see what Uruguay has to bring to the table.
One look at their Bandcamp page reveals that Regina dabbles in a variety of styles, but the nu-metal tag might stick out as a turnoff for many readers. While there are a few brief spoken/rapped sections, concerned readers can rest assured that Liminal Space leans stoner and grunge above anything else. They don’t play the blasting, riff-tastic stoner of High on Fire or Sergeant Thunderhoof, but a hazy, atmospheric version that relies on reverb and ample bass grooves. It’s almost a tale of two halves, with the front half leaning stoner and the back half grunge. Early on the songs have a much more freestyle form to them, such as the dreamy, sometimes psychedelic “S.M.E.G.M.A..” It’s not until “Age of Aquarius” that they really attempt any sort of riffs. The later grunge-y stuff like “Would You Like Some Fries With That?” and “Rot” have a more punky vibe with clearer traditional song structure. Closer “Rot” is a particular standout, sounding like a crossover between Nirvana and Tragic Kingdom-era No Doubt.
A charismatic lead is a must when going the alt route, and Regina has one in Sofia May. She fluctuates her voice seamlessly from chill to punk, bringing a poetic, stylistic interpretation of the lyrics. When she reaches higher notes she sounds an awful lot like Gwen Stefani and might have you on the lookout for spiderwebs (“Of Dicks and Whores,” “Dethroned,” “Whiteout”). On closer “Rot,” she channels not only the Hollaback Girl but also a mumbling Kurt Cobain—and I don’t mean that in a negative way. While her voice tends towards the gritty, she also softly chants and croons in a dreamy manner that reminded me of another band I reviewed earlier this year, the psychedelic doom outfit When the Deadbolt Breaks (“Hollow Crown,” “Sweet Embrace”). The diversity of May’s vocal delivery is a major asset on Liminal Space.
While Liminal Space is a very pleasant listen in the moment, the lack of hooky or melodic guitar riffs means that many of the tracks don’t quite stick. Regina relies almost too heavily on reverb, to the point that songs can be difficult to grasp, even as you might enjoy the detours the musicians take. The bassist does make up for this to an extent, often serving as the lead with a deft groove attack. Bassist Agustín Sogliano makes a particularly strong impression in the final minutes of “Rot” with some gnarly riffs. Fortunately, Liminal Shroud boasts clear production values that ensure no one instrument drowns out another. While the middle portion of the 48 minute album sags a bit, the surrounding music is enjoyable enough to recommend at least a few listens.
With the spunky Regina as its AMG representative, Uruguay is off to a good start. True, it might be a little uneven, but I also found their diversity to be a strength. From atmospheric psychedelic stoner to more punky grunge, Liminal Space has something for fans of either genre. And Sofia May proves to be a strong front woman. She helps carry the minimalist, piano-driven “Open Cage,” proving that Regina can make almost anything work as long as she’s leading the charge. This holds promise for future outings where more songwriting experience should lead to more cohesive, stronger compositions. Now that Uruguay has a band reviewed on AMG, I’m eagerly awaiting Vatican City to send in their promo.1
Rating: 3.0/5.0
DR: 8 | Format Reviewed: ALAC
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: September 12th, 2025#2025 #30 #AltMetal #Grunge #GwenStefani #HighOnFire #LiminalSpace #Nirvana #NoDoubt #PsychedelicRock #Regina #Review #Reviews #SelfReleased #Sep25 #SergeantThunderhoof #StonerRock #UruguayanMetal
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SERGEANT THUNDERHOOF (Regne Unit) presenta nou àlbum en directe: "Avon Calling" #SergeantThunderhoof #PsychedelicStoner #DoomMetal #Març2025 #RegneUnit #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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Sergeant Thunderhoof – The Ghost of Badon Hill [Things You Might Have Missed 2024]
By Saunders
Back in 2022, a sneaky filter piece alerted me to the existence of UK progressive, psych-drenched stoner rock/metal band Sergeant Thunderhoof and their wonderfully written fourth album, This Sceptred Veil. It nabbed a well-deserved spot on my year-end list, remaining in solid rotation since its release. November 2024 saw Sergeant Thunderhoof return with their highly anticipated follow-up to that game-changing album. Dropping midway through the month, conceptual album The Ghost of Badon Hill took a few listens to sink its teeth in. Meanwhile, as the year rapidly drew to its conclusion, it didn’t quite garner the level of attention it inevitably deserved to properly consider for list season. With their signature style and inventive songwriting on full display, Sergeant Thunderhoof delivered a finely crafted offering and differing beast to its immediate predecessor.
Despite its epic, slightly bloated length, This Spectred Veil was a more immediate, punchy album, featuring epic progressive compositions and a swaggering, hard-rocking immediacy, particularly on such boisterous, rollicking numbers as “Devil’s Daughter,” “Woman Call,” and “Show Don’t Tell.” In comparison, The Ghost of Badon Hill is a more subdued, measured affair, exemplified by brooding, slow-burning opening cut “Badon,” a haunting, acoustic heavy offering that builds satisfyingly to a sludgy, psych-doom-addled climax. It’s the kind of tune that takes a handful of listens to fully appreciate, rewarding repeat listens. “Blood Moon” contains a similar vibe to the straightforward rocking material from This Spectred Veil. Groovy, punchy riffs, emotive leads, and a typically gritty, yet soulful singing performance from immensely talented frontman Dan Flitcroft defines another well-crafted, hooky rocker in the Thunderhoof repertoire. “Salvation for the Soul” demonstrates their bread-and-butter knack of throwing down thick, burly stoner-doom riffs, fat grooves, and irresistible hooks within tightly coiled, progressive frameworks.
Conceptually delving into the history, mysticism, and folklore of Somerset (set in the 4th Century AD), The Ghost of Badon Hill possesses a darkly enchanting, melancholic atmosphere, dripping with their trademark moody and emotive delivery. Sergeant Thunderhoof’s muscular progressive tendencies amidst the album’s restrained approach, are given platforms to gradually unfurl and develop on the stirring longer form epics (“The Orb of Octavia,” and heart-wrenching closer “Beyond the Hill”). Shifting effortlessly through dynamic arrangements, moods and textures, earwormy hooks, and melodies are never far from the surface, as skilled musicianship, excellent vocals, and exemplary guitar work cuts deeply. The highs may fall short of its predecessor, however, The Ghost of Badon Hill wins points for its interesting concept, cutting emotional resonance, and compact duration (sporting a significantly shorter runtime than This Spectred Veil). Each song comes uniformly well-constructed, nuanced, and deceptively infectious.
The writing is never less than engaging and the hooks penetrate deeper with subsequent listens. Following initial reservations, The Ghost of Badon Hill developed into an increasingly addictive listen, a genuine grower, demonstrating the band’s continued growth and maturity and standing tall alongside higher profile contemporaries, such as Green Lung. The Ghost of Badon Hill is a richly rewarding platter of groovy, proggy, emotive delights, reinforcing Sergeant Thunderhoof as an elite and unappreciated heavyweight in the hazy realms of psychedelic, progressive and stoner-influenced rock/metal.
Tracks to Check Out: “The Orb of Octavia,” “Salvation for the Soul,” “Sentinel”
#2024 #GreenLung #HeavyRock #PaleWizardRecords #ProgressiveMetal #Review #Reviews #SergeantThunderhoof #StonerMetal #TheGhostOfBadonHill #ThingsYouMightHaveMissed2024
