#stonerdoommetal — Public Fediverse posts

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

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/

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/

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, 2025

Show 3 footnotes

1. Even their artwork was created by guitarist/vocalist Tom Polzine’s mother, Susan M. Davies, who has contributed artwork in the past. ↩
2. Fourth full-length if you count Black Hole Space Wizard, Part 2 in its qualifying length. ↩
3. 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

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, 2025

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

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, 2025

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

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, 2025

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

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, 2025

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

My review of Collapsed Vein's incredible Pain Communion.

An excerpt:

"The release pack describes Pain Communion as a “harrowing exploration of mortality, religious decay, and isolation” and it certainly feels no stone is left unturned in that endeavour when reaching ‘Overwhelmed With Bereavement’; a track so vibrant it feels independent of any audio...

#doommetal #deathmetal #stonerdoommetal #heavymetal #rock #music #newmusic #newmusicfriday #musicreview #review

https://npryan.com/2025/06/06/collapsed-vein-pain-communion/

¡Nuevas noticias de música!
La banda Crystal Spiders anuncia su nuevo álbum, Metanoia,
que se lanzará el 23 de mayo a través de Ripple Music.
Con siete temas poderosos, este álbum promete ser
un viaje transformador.
#StonerDoomMetal #CrystalSpiders #MúsicaNueva #Música #Music
https://www.youtube.com/watch?v=lTMq_E7H0Bc
https://noticieromusical.com/crystal-spiders-anuncia-nuevo-album

AMG’s Unsigned Band Rodeö: Questing Beast – Birth

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

In this year of 2024, artists on the rise have an untold treasure of heavy metal history and knowledge from which they may conjure works of the distorted and riffy kind. That’s how young acts like Questing Beast can come across with their self-imposed “power doom” tag without sounding too much like bearers of the odd torch who came before like Memory Garden or Morgana Lefay. Rather, Birth wears shades of power through vocalist Joe Harris, whose trained vibrato runs equal parts dramatic and powerful while still finding room to switch to a sorrowful tone. And the doom comes out to play through traditional lurching riffs, dry stoner drives, and extended harmonic melodies. But with Elder-like (or maybe a little more Lyle Mays to these ears) glistening interludes and shifting tempo structures, is this also prog? My oh my, what a journey Questing Beast has set forth for our hard-to-please Rodeö crew. But I think it’s a beast they can wrangle, at least this time around. – Dolphin Whisperer

Questing Beast // Birth [June 14th, 2024]

Kenstrosity: I am not known for being particularly picky when it comes to metal in general. However, for one reason or another, I tend to be more selective about the tried and trve ways ov heavy metal. Regardless of pedigree or outside hybridizations, when I see the “heavy metal” tag, I exclaim with much prejudice, “we’ll see about that!” Enter New Hampshire’s proggy heavy metal quintet Questing Beast and their debut full-length, appropriately named Birth. Unexpectedly crunchy grooves and frankly beautiful melodies characterize the majority portion of these pieces (“At Crater’s Edge,” “Growth,” “Titan’s Grip”). But, it’s the more consistent presence of palpable grit in the instrumentation, as companion to the smooth and crystalline pipes at the mic, which makes the magic of the record’s best moments (“The Comet’s Tale,” Beneath Red Leaves,” “Corruption,” “Call of the North”). Using this uncommonly well-realized formula as the basis for strong storytelling and musical composition, Questing Beast handily carve out a niche for themselves in the metalverse that makes the most out of their heavy metal heritage without trying to play strict homage to it. While many of their songs could use a bit more immediacy and the vocalist’s falsetto a bit more stable power, Questing Beast make a compelling case for themselves on their first try. Let’s see if they can follow through on album two! 3.0/5.0

Cherd: On paper, Questing Beast looks like a textbook case of multiple personality disorder. They refer to themselves as “power doom,” but their sound is a circus tent pitched over three rings of power metal, classic doom, traditional/epic heavy metal and progressive metal. And that’s not all, folks. “Corruption” includes the above PLUS a healthy dose of djenty deathcore. Remarkably, the band mostly pulls it all off. Their debut full-length Birth is best when it leans into the older styles of metal. “Titan’s Grip” is a fine epic heavy metal tune updated for contemporary ears. Meanwhile, “At Crater’s Edge” sees them sounding like a bouncier Candlemass. This comparison is especially apt because of classically trained vocalist Joe Harris, who hews closer to Johan Längqvist than to Messiah Marcolin. Harris’ powerful pipes and smooth-like-butter timbre, along with the clearly talented instrumentalists in this quintet, keep Questing Beast’s sound from descending into chaos. Things do go a bit soft in the middle of the record from a songwriting standpoint, but all the material before the first instrumental and after the second one is eyebrow-raising, invigorating stuff. 3.0/5.0

Itchymenace: Beast indeed! This album has a lot going on. There are elements of thrash, prog, death, classic metal and even some jazz. Unfortunately, this ambitious hodgepodge never coalesced in a way that I found compelling or enjoyable. Birth’s primary fault is a lack of a common thread or a narrative that ties it all together. I felt pulled in numerous directions, questing for a voice that would guide me through the disparate tracks. Instead, I got a lot of operatic wailing that never seemed to find its place within the music. Where bands like Iron Maiden or Judas Priest use this style effectively to balance the sonic frequencies across the mix, it feels like Questing Beast stole a vocal track from one album and tried to make it fit over another. I don’t know if it’s a shortcoming in the production, the songwriting, the performance or all three. Much of the lyrical content doesn’t help either. The call and response during “At Crater’s Edge” was about as silly as it gets without being Anvil. Musically, I can appreciate what the band is trying to do. The guitars are crunchy with a classic harmonic metal sound that I love. There are some good riffs and competent playing but that is not enough to make me want to put it on again. Hopefully there is life after-Birth. I wish I could give this a better score. 2.0/5.0

Why unicorn a band when they have their own mythical beast icon?

Mystikus Hugebeard: Birth is a righteous debut by a brand-new band that is already swinging for the fences. This album is, upon reflection, even grander than perhaps it might feel in the moment as you listen to it. During a typical spin, my focus is easily held by the crunchy, exciting riffs that dominate the tracklist, from the slower doom that opens “The Comet’s Tail,” through the energetic classic-metal-tinged guitars in “Beneath Red Leaves,” to the unstoppable pounding riffs of “Call of the North.” But the larger scale of Birth really creeps up on you. Complex rhythms (“Corruption”) and unconventional melodies (“Growth”) speak to Questing Beast’s admirable ambition, and they have the talent to pull off these progressive elements. It’s the bodacious, borderline campy vocals, rather, that make Birth feel epic and they cement the album’s lasting appeal for me. They’re full of righteous but tastefully applied vibrato, and the singer has the endearing timbre of an unrefined but uber-talented vocalist giving 110% that’s just hard to find these days. Some elements do betray Questing Beast’s green-ness in a more harmful way, though. Birth is crying out for some killer guitar solos to punctuate the riffs and further heighten the scale, but the few we get are underwhelming and come across as a bit sloppy, with the exception of “Beneath Red Leaves.” Furthermore, I think the drums can sound a little too sharp and could use a less distracting mix. Despite that, the broad strokes of Birth are a big success for me. Birth is the kind of hidden gem that’s exciting to discover, and leaves me with a big, satisfied grin on my face. 3.0/5.0

#2024 #AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2024 #Birth #Candlemass #DoomMetal #Elder #IndependentRelease #IronMaiden #JudasPriest #Jun24 #LyleMays #MemoryGarden #MorganaLefay #PowerMetal #ProgressiveDoomMetal #ProgressiveMetal #QuestingBeast #SelfRelease #StonerDoomMetal

AMG’s Unsigned Band Rodeö: Questing Beast – Birth

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

In this year of 2024, artists on the rise have an untold treasure of heavy metal history and knowledge from which they may conjure works of the distorted and riffy kind. That’s how young acts like Questing Beast can come across with their self-imposed “power doom” tag without sounding too much like bearers of the odd torch who came before like Memory Garden or Morgana Lefay. Rather, Birth wears shades of power through vocalist Joe Harris, whose trained vibrato runs equal parts dramatic and powerful while still finding room to switch to a sorrowful tone. And the doom comes out to play through traditional lurching riffs, dry stoner drives, and extended harmonic melodies. But with Elder-like (or maybe a little more Lyle Mays to these ears) glistening interludes and shifting tempo structures, is this also prog? My oh my, what a journey Questing Beast has set forth for our hard-to-please Rodeö crew. But I think it’s a beast they can wrangle, at least this time around. – Dolphin Whisperer

Questing Beast // Birth [June 14th, 2024]

Kenstrosity: I am not known for being particularly picky when it comes to metal in general. However, for one reason or another, I tend to be more selective about the tried and trve ways ov heavy metal. Regardless of pedigree or outside hybridizations, when I see the “heavy metal” tag, I exclaim with much prejudice, “we’ll see about that!” Enter New Hampshire’s proggy heavy metal quintet Questing Beast and their debut full-length, appropriately named Birth. Unexpectedly crunchy grooves and frankly beautiful melodies characterize the majority portion of these pieces (“At Crater’s Edge,” “Growth,” “Titan’s Grip”). But, it’s the more consistent presence of palpable grit in the instrumentation, as companion to the smooth and crystalline pipes at the mic, which makes the magic of the record’s best moments (“The Comet’s Tale,” Beneath Red Leaves,” “Corruption,” “Call of the North”). Using this uncommonly well-realized formula as the basis for strong storytelling and musical composition, Questing Beast handily carve out a niche for themselves in the metalverse that makes the most out of their heavy metal heritage without trying to play strict homage to it. While many of their songs could use a bit more immediacy and the vocalist’s falsetto a bit more stable power, Questing Beast make a compelling case for themselves on their first try. Let’s see if they can follow through on album two! 3.0/5.0

Cherd: On paper, Questing Beast looks like a textbook case of multiple personality disorder. They refer to themselves as “power doom,” but their sound is a circus tent pitched over three rings of power metal, classic doom, traditional/epic heavy metal and progressive metal. And that’s not all, folks. “Corruption” includes the above PLUS a healthy dose of djenty deathcore. Remarkably, the band mostly pulls it all off. Their debut full-length Birth is best when it leans into the older styles of metal. “Titan’s Grip” is a fine epic heavy metal tune updated for contemporary ears. Meanwhile, “At Crater’s Edge” sees them sounding like a bouncier Candlemass. This comparison is especially apt because of classically trained vocalist Joe Harris, who hews closer to Johan Längqvist than to Messiah Marcolin. Harris’ powerful pipes and smooth-like-butter timbre, along with the clearly talented instrumentalists in this quintet, keep Questing Beast’s sound from descending into chaos. Things do go a bit soft in the middle of the record from a songwriting standpoint, but all the material before the first instrumental and after the second one is eyebrow-raising, invigorating stuff. 3.0/5.0

Itchymenace: Beast indeed! This album has a lot going on. There are elements of thrash, prog, death, classic metal and even some jazz. Unfortunately, this ambitious hodgepodge never coalesced in a way that I found compelling or enjoyable. Birth’s primary fault is a lack of a common thread or a narrative that ties it all together. I felt pulled in numerous directions, questing for a voice that would guide me through the disparate tracks. Instead, I got a lot of operatic wailing that never seemed to find its place within the music. Where bands like Iron Maiden or Judas Priest use this style effectively to balance the sonic frequencies across the mix, it feels like Questing Beast stole a vocal track from one album and tried to make it fit over another. I don’t know if it’s a shortcoming in the production, the songwriting, the performance or all three. Much of the lyrical content doesn’t help either. The call and response during “At Crater’s Edge” was about as silly as it gets without being Anvil. Musically, I can appreciate what the band is trying to do. The guitars are crunchy with a classic harmonic metal sound that I love. There are some good riffs and competent playing but that is not enough to make me want to put it on again. Hopefully there is life after-Birth. I wish I could give this a better score. 2.0/5.0

Why unicorn a band when they have their own mythical beast icon?

Mystikus Hugebeard: Birth is a righteous debut by a brand-new band that is already swinging for the fences. This album is, upon reflection, even grander than perhaps it might feel in the moment as you listen to it. During a typical spin, my focus is easily held by the crunchy, exciting riffs that dominate the tracklist, from the slower doom that opens “The Comet’s Tail,” through the energetic classic-metal-tinged guitars in “Beneath Red Leaves,” to the unstoppable pounding riffs of “Call of the North.” But the larger scale of Birth really creeps up on you. Complex rhythms (“Corruption”) and unconventional melodies (“Growth”) speak to Questing Beast’s admirable ambition, and they have the talent to pull off these progressive elements. It’s the bodacious, borderline campy vocals, rather, that make Birth feel epic and they cement the album’s lasting appeal for me. They’re full of righteous but tastefully applied vibrato, and the singer has the endearing timbre of an unrefined but uber-talented vocalist giving 110% that’s just hard to find these days. Some elements do betray Questing Beast’s green-ness in a more harmful way, though. Birth is crying out for some killer guitar solos to punctuate the riffs and further heighten the scale, but the few we get are underwhelming and come across as a bit sloppy, with the exception of “Beneath Red Leaves.” Furthermore, I think the drums can sound a little too sharp and could use a less distracting mix. Despite that, the broad strokes of Birth are a big success for me. Birth is the kind of hidden gem that’s exciting to discover, and leaves me with a big, satisfied grin on my face. 3.0/5.0

#2024 #AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2024 #Birth #Candlemass #DoomMetal #Elder #IndependentRelease #IronMaiden #JudasPriest #Jun24 #LyleMays #MemoryGarden #MorganaLefay #PowerMetal #ProgressiveDoomMetal #ProgressiveMetal #QuestingBeast #SelfRelease #StonerDoomMetal

AMG’s Unsigned Band Rodeö: Questing Beast – Birth

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

In this year of 2024, artists on the rise have an untold treasure of heavy metal history and knowledge from which they may conjure works of the distorted and riffy kind. That’s how young acts like Questing Beast can come across with their self-imposed “power doom” tag without sounding too much like bearers of the odd torch who came before like Memory Garden or Morgana Lefay. Rather, Birth wears shades of power through vocalist Joe Harris, whose trained vibrato runs equal parts dramatic and powerful while still finding room to switch to a sorrowful tone. And the doom comes out to play through traditional lurching riffs, dry stoner drives, and extended harmonic melodies. But with Elder-like (or maybe a little more Lyle Mays to these ears) glistening interludes and shifting tempo structures, is this also prog? My oh my, what a journey Questing Beast has set forth for our hard-to-please Rodeö crew. But I think it’s a beast they can wrangle, at least this time around. – Dolphin Whisperer

Questing Beast // Birth [June 14th, 2024]

Kenstrosity: I am not known for being particularly picky when it comes to metal in general. However, for one reason or another, I tend to be more selective about the tried and trve ways ov heavy metal. Regardless of pedigree or outside hybridizations, when I see the “heavy metal” tag, I exclaim with much prejudice, “we’ll see about that!” Enter New Hampshire’s proggy heavy metal quintet Questing Beast and their debut full-length, appropriately named Birth. Unexpectedly crunchy grooves and frankly beautiful melodies characterize the majority portion of these pieces (“At Crater’s Edge,” “Growth,” “Titan’s Grip”). But, it’s the more consistent presence of palpable grit in the instrumentation, as companion to the smooth and crystalline pipes at the mic, which makes the magic of the record’s best moments (“The Comet’s Tale,” Beneath Red Leaves,” “Corruption,” “Call of the North”). Using this uncommonly well-realized formula as the basis for strong storytelling and musical composition, Questing Beast handily carve out a niche for themselves in the metalverse that makes the most out of their heavy metal heritage without trying to play strict homage to it. While many of their songs could use a bit more immediacy and the vocalist’s falsetto a bit more stable power, Questing Beast make a compelling case for themselves on their first try. Let’s see if they can follow through on album two! 3.0/5.0

Cherd: On paper, Questing Beast looks like a textbook case of multiple personality disorder. They refer to themselves as “power doom,” but their sound is a circus tent pitched over three rings of power metal, classic doom, traditional/epic heavy metal and progressive metal. And that’s not all, folks. “Corruption” includes the above PLUS a healthy dose of djenty deathcore. Remarkably, the band mostly pulls it all off. Their debut full-length Birth is best when it leans into the older styles of metal. “Titan’s Grip” is a fine epic heavy metal tune updated for contemporary ears. Meanwhile, “At Crater’s Edge” sees them sounding like a bouncier Candlemass. This comparison is especially apt because of classically trained vocalist Joe Harris, who hews closer to Johan Längqvist than to Messiah Marcolin. Harris’ powerful pipes and smooth-like-butter timbre, along with the clearly talented instrumentalists in this quintet, keep Questing Beast’s sound from descending into chaos. Things do go a bit soft in the middle of the record from a songwriting standpoint, but all the material before the first instrumental and after the second one is eyebrow-raising, invigorating stuff. 3.0/5.0

Itchymenace: Beast indeed! This album has a lot going on. There are elements of thrash, prog, death, classic metal and even some jazz. Unfortunately, this ambitious hodgepodge never coalesced in a way that I found compelling or enjoyable. Birth’s primary fault is a lack of a common thread or a narrative that ties it all together. I felt pulled in numerous directions, questing for a voice that would guide me through the disparate tracks. Instead, I got a lot of operatic wailing that never seemed to find its place within the music. Where bands like Iron Maiden or Judas Priest use this style effectively to balance the sonic frequencies across the mix, it feels like Questing Beast stole a vocal track from one album and tried to make it fit over another. I don’t know if it’s a shortcoming in the production, the songwriting, the performance or all three. Much of the lyrical content doesn’t help either. The call and response during “At Crater’s Edge” was about as silly as it gets without being Anvil. Musically, I can appreciate what the band is trying to do. The guitars are crunchy with a classic harmonic metal sound that I love. There are some good riffs and competent playing but that is not enough to make me want to put it on again. Hopefully there is life after-Birth. I wish I could give this a better score. 2.0/5.0

Why unicorn a band when they have their own mythical beast icon?

Mystikus Hugebeard: Birth is a righteous debut by a brand-new band that is already swinging for the fences. This album is, upon reflection, even grander than perhaps it might feel in the moment as you listen to it. During a typical spin, my focus is easily held by the crunchy, exciting riffs that dominate the tracklist, from the slower doom that opens “The Comet’s Tail,” through the energetic classic-metal-tinged guitars in “Beneath Red Leaves,” to the unstoppable pounding riffs of “Call of the North.” But the larger scale of Birth really creeps up on you. Complex rhythms (“Corruption”) and unconventional melodies (“Growth”) speak to Questing Beast’s admirable ambition, and they have the talent to pull off these progressive elements. It’s the bodacious, borderline campy vocals, rather, that make Birth feel epic and they cement the album’s lasting appeal for me. They’re full of righteous but tastefully applied vibrato, and the singer has the endearing timbre of an unrefined but uber-talented vocalist giving 110% that’s just hard to find these days. Some elements do betray Questing Beast’s green-ness in a more harmful way, though. Birth is crying out for some killer guitar solos to punctuate the riffs and further heighten the scale, but the few we get are underwhelming and come across as a bit sloppy, with the exception of “Beneath Red Leaves.” Furthermore, I think the drums can sound a little too sharp and could use a less distracting mix. Despite that, the broad strokes of Birth are a big success for me. Birth is the kind of hidden gem that’s exciting to discover, and leaves me with a big, satisfied grin on my face. 3.0/5.0

#2024 #AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2024 #Birth #Candlemass #DoomMetal #Elder #IndependentRelease #IronMaiden #JudasPriest #Jun24 #LyleMays #MemoryGarden #MorganaLefay #PowerMetal #ProgressiveDoomMetal #ProgressiveMetal #QuestingBeast #SelfRelease #StonerDoomMetal

Thousand Limbs – The Aurochs Review

By Dear Hollow

If any metal style has the right to be instrumental, it’s a three-way tie between djent, drone, and post-metal – and I’m guessing you’re cringing right now. While the former two are dragged across oft-unwilling ears in masturbatory guitar wizardry and booty-thick minimalist sprawls, respectively, post-metal has always felt a bit more exploratory and dynamic. Acts like Tempel and Russian Circles have crafted landscapes out of massive riffs and complex compositions, and New Zealand’s Thousand Limbs takes a similar approach with debut full-length The Aurochs. Big riffs and visceral chord progressions guide, and we are on this journey with them.

The Aurochs takes influence from the enigmatic Chinese Ten Ox-Herding Pictures, illustrations and parables from twelfth-century Zen master Kakuan Shion. Thousand Limbs’ individual ten tracks reflect each of the illustrations and their attached poetic verses respectively, through a sonic exploration of the achievement of awakening. While post-metal is clear in Isis-esque off-kilter rhythms, curious melodicisms, and lurching patterns alongside Russian Circles awe-inducing hugeness, other influences of YOB, Bongripper, and Earth also pervade. Orange haze, vintage distortion, and driving baritone riffs add a certain aggression and twist.

Beginning with “A Blessed Life to Suffer,” you’re graced with post-metal and doom’s most endearing quality: patience. Thousand Limbs is content letting its riffs grow and sprawl across its mammoth nearly hour-long runtime. Tracks like “Form,” “Fall of Body and Mind,” and closer “A Boundless Heart” exchange big sprawls, haunting leads, and fuzzy noodles seamlessly in painting enlightened pictures with broad yet gentle strokes, while the interludes “Only His Shadow,” “Evening Haze,” and “Beneath Soil and Stone” embrace the darker melodies that momentarily cut through the murk. Centerpieces “The Aurochs” and “The Aurochs – Aligned” are the best tracks here, exemplifying a two-part exploration of “Seizing the Ox” and “Taming the Ox.” First half “The Aurochs” is vicious and driving, complete with dissonant dueling arpeggios, while the second’s “Aligned” interpretation is more sunny and optimistic stoner-heavy bass-forward intertwined rhythms feel like some achievement of peace. Thousand Limbs’ careful control of its songwriting and motifs is consistently illustrated throughout, transitions between dissonance, darker minor moods, sunny melody, and brighter major chords remarkably smooth.

The fusion of post-metal and vintage doom is an intriguing premise, but Thousand Limbs suffers from its murk. Stoner doom in particular is aligned in minimalist compositions, and while guitars attempt to intertwine and compensate for The Aurochs’ voiceless trudge, it takes multiple listens to discern between the layers – especially when they exist in the same register. All the layered riffs and leads that guide “A Dim Light to Guide,” “Form,” and “A Boundless Heart” all swirl with no particular conclusion, only letting random bouts of squealing feedback cut through the bog. In this way, the careful and precise nature of post-metal is incompatible with the fuzzy wrecking ball of stoner doom, and Thousand Limbs shoots itself in the foot with its stoner doom swampy mix. Even beyond it, while the album structure favors their placement as album climax, “The Aurochs” and “The Aurochs – Aligned” are the undisputed best tracks here, putting all others in their shadow.

To their credit, Thousand Limbs has created a post-metal album that is evocative, smartly composed, and achieving a clear purpose. The problem is that The Aurochs makes no case convincing stoner doom and post-metal naysayers that it’s the best thing since Isis or Bongripper. Unless you’re prepared to analyze the hell out of it for damn near an hour, fighting uphill against a production value of dominating fuzz and denied vocals, The Aurochs is a chore. Thousand Limbs carries on the tried-and-true tradition of instrumental post-metal in a unique fusion that embraces the hallmarks of classic doom and stoner sensibilities in a tangible and realized theme. But like the walk towards enlightenment, you’ve got to struggle for it.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: thousandlimbs.bandcamp.com | facebook.com/thousandlimbsnz
Releases Worldwide: July 19th, 2024

#25 #2024 #Bongripper #DoomMetal #Earth #Jul24 #NewZealandMetal #PostMetal #Review #Reviews #RussianCircles #SelfRelease #StonerDoomMetal #Tempel #TheAurochs #ThousandLimbs #YOB

Thousand Limbs – The Aurochs Review

By Dear Hollow

If any metal style has the right to be instrumental, it’s a three-way tie between djent, drone, and post-metal – and I’m guessing you’re cringing right now. While the former two are dragged across oft-unwilling ears in masturbatory guitar wizardry and booty-thick minimalist sprawls, respectively, post-metal has always felt a bit more exploratory and dynamic. Acts like Tempel and Russian Circles have crafted landscapes out of massive riffs and complex compositions, and New Zealand’s Thousand Limbs takes a similar approach with debut full-length The Aurochs. Big riffs and visceral chord progressions guide, and we are on this journey with them.

The Aurochs takes influence from the enigmatic Chinese Ten Ox-Herding Pictures, illustrations and parables from twelfth-century Zen master Kakuan Shion. Thousand Limbs’ individual ten tracks reflect each of the illustrations and their attached poetic verses respectively, through a sonic exploration of the achievement of awakening. While post-metal is clear in Isis-esque off-kilter rhythms, curious melodicisms, and lurching patterns alongside Russian Circles awe-inducing hugeness, other influences of YOB, Bongripper, and Earth also pervade. Orange haze, vintage distortion, and driving baritone riffs add a certain aggression and twist.

Beginning with “A Blessed Life to Suffer,” you’re graced with post-metal and doom’s most endearing quality: patience. Thousand Limbs is content letting its riffs grow and sprawl across its mammoth nearly hour-long runtime. Tracks like “Form,” “Fall of Body and Mind,” and closer “A Boundless Heart” exchange big sprawls, haunting leads, and fuzzy noodles seamlessly in painting enlightened pictures with broad yet gentle strokes, while the interludes “Only His Shadow,” “Evening Haze,” and “Beneath Soil and Stone” embrace the darker melodies that momentarily cut through the murk. Centerpieces “The Aurochs” and “The Aurochs – Aligned” are the best tracks here, exemplifying a two-part exploration of “Seizing the Ox” and “Taming the Ox.” First half “The Aurochs” is vicious and driving, complete with dissonant dueling arpeggios, while the second’s “Aligned” interpretation is more sunny and optimistic stoner-heavy bass-forward intertwined rhythms feel like some achievement of peace. Thousand Limbs’ careful control of its songwriting and motifs is consistently illustrated throughout, transitions between dissonance, darker minor moods, sunny melody, and brighter major chords remarkably smooth.

The fusion of post-metal and vintage doom is an intriguing premise, but Thousand Limbs suffers from its murk. Stoner doom in particular is aligned in minimalist compositions, and while guitars attempt to intertwine and compensate for The Aurochs’ voiceless trudge, it takes multiple listens to discern between the layers – especially when they exist in the same register. All the layered riffs and leads that guide “A Dim Light to Guide,” “Form,” and “A Boundless Heart” all swirl with no particular conclusion, only letting random bouts of squealing feedback cut through the bog. In this way, the careful and precise nature of post-metal is incompatible with the fuzzy wrecking ball of stoner doom, and Thousand Limbs shoots itself in the foot with its stoner doom swampy mix. Even beyond it, while the album structure favors their placement as album climax, “The Aurochs” and “The Aurochs – Aligned” are the undisputed best tracks here, putting all others in their shadow.

To their credit, Thousand Limbs has created a post-metal album that is evocative, smartly composed, and achieving a clear purpose. The problem is that The Aurochs makes no case convincing stoner doom and post-metal naysayers that it’s the best thing since Isis or Bongripper. Unless you’re prepared to analyze the hell out of it for damn near an hour, fighting uphill against a production value of dominating fuzz and denied vocals, The Aurochs is a chore. Thousand Limbs carries on the tried-and-true tradition of instrumental post-metal in a unique fusion that embraces the hallmarks of classic doom and stoner sensibilities in a tangible and realized theme. But like the walk towards enlightenment, you’ve got to struggle for it.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: thousandlimbs.bandcamp.com | facebook.com/thousandlimbsnz
Releases Worldwide: July 19th, 2024

#25 #2024 #Bongripper #DoomMetal #Earth #Jul24 #NewZealandMetal #PostMetal #Review #Reviews #RussianCircles #SelfRelease #StonerDoomMetal #Tempel #TheAurochs #ThousandLimbs #YOB

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#MetalSucks
Watch Orange Goblin React to Your Fan Covers
Their new album Science, Not Fiction will be released on July 19.

https://www.metalsucks.net/2024/06/13/watch-orange-goblin-react-to-your-fan-covers/

#OrangeGoblin #HeavyRiffs #StonerDoomMetal

Altar of Betelgeuze – Echoes Review

By Dear Hollow

My experience in the doomier side of death metal is skewed. While many of the olde drank deep of the greats in the canon of Incantation, Asphyx, or diSEMBOWELMENT, my first experiences in the low and slow were Saturnus, Swallow the Sun, and Evoken’s more contemporary fare.1 One classic album that did speak to me in hushed whispers through its grimy and thickly menacing approach to death metal was Winter’s sole 1990 LP Into Darkness. A similar harbinger of the sound like many of the above, it relied more on death metal than doom, utilizing the latter only to bring out the sickness with each movement. Finland’s Altar of Betelgeuze utilizes this classic template of riff-first fed headfirst into the doom machine, but they do so by adding a slight green fuzz to their proceedings.

Echoes is the quartet’s third full-length since the act’s conception in 2010. While featuring the armaments and cavernous bellows of Incantation or Winter, it also is armed with a stoner doom fuzz and vocal influence from Candlemass. However, you can be sure that the “married iguana” haze does not subtract from Altar of Betelgeuze’s intention of crushing your skull in. Each of Echoes’ tracks features thick and punishing riffs with charismatic death metal vocal performances, with a fuzzy sprawl reminiscent of acts like Weedeater and Om. Ultimately, Echoes is by no means a genre-defining or challenging album, but it finds Altar of Betelgeuze tapping into earthmoving heaviness.

There are no frills on Echoes – no fancy-ass intros, ambient interludes, or atmospheric pretense. Altar of Betelgeuze wastes no time hitting you with a skull-crushing riff in opener “On the Verge,” a pummeling affair of mammoth echoing drums, thick riffs with a gritty undertone, and hellish bellows commanding the movements. This punishment continues in “Embrace the Flames,” a more upbeat precipice of death metal. “Conclusion” offers a more crawling and sprawling stoner approach, dwelling in a subtle plucking style that capitalizes on the riff – a torch that “A Reflection” carries on with more fuzzy riffs and drawling leads. The title track is the album climax, a patient nine-minute odyssey that never lets up on its density, its stoner influence weaponized to saturate every negative space. Altar of Betelgeuze’s no-frills approach, combined with its mammoth production unafraid of grit or grime, makes for Echoes to be a force to be reckoned with.

Two tracks that call the album into question are not due to lack of quality, but simply their placement, namely alongside the highlight “Echoes.” Case in point, “Salvation” is by no means a poor track, but its jarring stoner-doom focus and Candlemass-esque barked vocals with a stark lack of death metal make its relatively toothless sound forgettable. Similarly, and more problematic, “Fading Light” must attempt to take up the mantle after “Echoes,” but its replication of the previously focused riffs pales in comparison due its sudden lack of exploratory songwriting, making its inclusion questionable. At least “Salvation” is a unique inclusion in stoner fuzz and barked vocals, while “Fading Light” feels almost entirely unnecessary. On a nitpicking level, “Conclusion” may feel underwhelming after “On the Verge,” while “A Reflection” is its weaker and more forgettable version. Although commanding, the vocals of Matias Nastolin are just a tad too loud in the mix, somewhat drowning out the riffs periodically.

Even if my perception of death/doom is skewed, I still had a great time with Echoes. Altar of Betelgeuze doesn’t pretend to be the best thing since Incantation. The trio offers a slow-motion beatdown that will get your head bobbing in a doom-centric style that doesn’t feel too slow, but rather finds the sweet spot of tempos that capitalizes upon the groove. Featuring a nice set of tracks that neatly weaponize stoner and traditional doom in ways that saturate rather than dominate, the focus is refreshingly straightforward and tastefully pummeling. Playing it close to the vest until the epic “Echoes,” Altar of Betelgeuze offers not the next chapter of doom, but a reason why people love it.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: altarofbetelgeuze.bandcamp.com | facebook.com/AoBofficial
Releases Worldwide: March 22nd, 2024

#2024 #30 #AltarOfBetelgeuze #Asphyx #Candlemass #DeathMetal #DeathDoomMetal #diSEMBOWELMENT #DoomMetal #Echoes #Evoken #FinnishMetal #Incantation #Mar24 #Om #Review #Reviews #Saturnus #SelfRelease #StonerDoomMetal #SwallowTheSun #Weedeater #Winter

Altar of Betelgeuze – Echoes Review

By Dear Hollow

My experience in the doomier side of death metal is skewed. While many of the olde drank deep of the greats in the canon of Incantation, Asphyx, or diSEMBOWELMENT, my first experiences in the low and slow were Saturnus, Swallow the Sun, and Evoken’s more contemporary fare.1 One classic album that did speak to me in hushed whispers through its grimy and thickly menacing approach to death metal was Winter’s sole 1990 LP Into Darkness. A similar harbinger of the sound like many of the above, it relied more on death metal than doom, utilizing the latter only to bring out the sickness with each movement. Finland’s Altar of Betelgeuze utilizes this classic template of riff-first fed headfirst into the doom machine, but they do so by adding a slight green fuzz to their proceedings.

Echoes is the quartet’s third full-length since the act’s conception in 2010. While featuring the armaments and cavernous bellows of Incantation or Winter, it also is armed with a stoner doom fuzz and vocal influence from Candlemass. However, you can be sure that the “married iguana” haze does not subtract from Altar of Betelgeuze’s intention of crushing your skull in. Each of Echoes’ tracks features thick and punishing riffs with charismatic death metal vocal performances, with a fuzzy sprawl reminiscent of acts like Weedeater and Om. Ultimately, Echoes is by no means a genre-defining or challenging album, but it finds Altar of Betelgeuze tapping into earthmoving heaviness.

There are no frills on Echoes – no fancy-ass intros, ambient interludes, or atmospheric pretense. Altar of Betelgeuze wastes no time hitting you with a skull-crushing riff in opener “On the Verge,” a pummeling affair of mammoth echoing drums, thick riffs with a gritty undertone, and hellish bellows commanding the movements. This punishment continues in “Embrace the Flames,” a more upbeat precipice of death metal. “Conclusion” offers a more crawling and sprawling stoner approach, dwelling in a subtle plucking style that capitalizes on the riff – a torch that “A Reflection” carries on with more fuzzy riffs and drawling leads. The title track is the album climax, a patient nine-minute odyssey that never lets up on its density, its stoner influence weaponized to saturate every negative space. Altar of Betelgeuze’s no-frills approach, combined with its mammoth production unafraid of grit or grime, makes for Echoes to be a force to be reckoned with.

Two tracks that call the album into question are not due to lack of quality, but simply their placement, namely alongside the highlight “Echoes.” Case in point, “Salvation” is by no means a poor track, but its jarring stoner-doom focus and Candlemass-esque barked vocals with a stark lack of death metal make its relatively toothless sound forgettable. Similarly, and more problematic, “Fading Light” must attempt to take up the mantle after “Echoes,” but its replication of the previously focused riffs pales in comparison due its sudden lack of exploratory songwriting, making its inclusion questionable. At least “Salvation” is a unique inclusion in stoner fuzz and barked vocals, while “Fading Light” feels almost entirely unnecessary. On a nitpicking level, “Conclusion” may feel underwhelming after “On the Verge,” while “A Reflection” is its weaker and more forgettable version. Although commanding, the vocals of Matias Nastolin are just a tad too loud in the mix, somewhat drowning out the riffs periodically.

Even if my perception of death/doom is skewed, I still had a great time with Echoes. Altar of Betelgeuze doesn’t pretend to be the best thing since Incantation. The trio offers a slow-motion beatdown that will get your head bobbing in a doom-centric style that doesn’t feel too slow, but rather finds the sweet spot of tempos that capitalizes upon the groove. Featuring a nice set of tracks that neatly weaponize stoner and traditional doom in ways that saturate rather than dominate, the focus is refreshingly straightforward and tastefully pummeling. Playing it close to the vest until the epic “Echoes,” Altar of Betelgeuze offers not the next chapter of doom, but a reason why people love it.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: altarofbetelgeuze.bandcamp.com | facebook.com/AoBofficial
Releases Worldwide: March 22nd, 2024

#2024 #30 #AltarOfBetelgeuze #Asphyx #Candlemass #DeathMetal #DeathDoomMetal #diSEMBOWELMENT #DoomMetal #Echoes #Evoken #FinnishMetal #Incantation #Mar24 #Om #Review #Reviews #Saturnus #SelfRelease #StonerDoomMetal #SwallowTheSun #Weedeater #Winter

Altar of Betelgeuze – Echoes Review

By Dear Hollow

My experience in the doomier side of death metal is skewed. While many of the olde drank deep of the greats in the canon of Incantation, Asphyx, or diSEMBOWELMENT, my first experiences in the low and slow were Saturnus, Swallow the Sun, and Evoken’s more contemporary fare.1 One classic album that did speak to me in hushed whispers through its grimy and thickly menacing approach to death metal was Winter’s sole 1990 LP Into Darkness. A similar harbinger of the sound like many of the above, it relied more on death metal than doom, utilizing the latter only to bring out the sickness with each movement. Finland’s Altar of Betelgeuze utilizes this classic template of riff-first fed headfirst into the doom machine, but they do so by adding a slight green fuzz to their proceedings.

Echoes is the quartet’s third full-length since the act’s conception in 2010. While featuring the armaments and cavernous bellows of Incantation or Winter, it also is armed with a stoner doom fuzz and vocal influence from Candlemass. However, you can be sure that the “married iguana” haze does not subtract from Altar of Betelgeuze’s intention of crushing your skull in. Each of Echoes’ tracks features thick and punishing riffs with charismatic death metal vocal performances, with a fuzzy sprawl reminiscent of acts like Weedeater and Om. Ultimately, Echoes is by no means a genre-defining or challenging album, but it finds Altar of Betelgeuze tapping into earthmoving heaviness.

There are no frills on Echoes – no fancy-ass intros, ambient interludes, or atmospheric pretense. Altar of Betelgeuze wastes no time hitting you with a skull-crushing riff in opener “On the Verge,” a pummeling affair of mammoth echoing drums, thick riffs with a gritty undertone, and hellish bellows commanding the movements. This punishment continues in “Embrace the Flames,” a more upbeat precipice of death metal. “Conclusion” offers a more crawling and sprawling stoner approach, dwelling in a subtle plucking style that capitalizes on the riff – a torch that “A Reflection” carries on with more fuzzy riffs and drawling leads. The title track is the album climax, a patient nine-minute odyssey that never lets up on its density, its stoner influence weaponized to saturate every negative space. Altar of Betelgeuze’s no-frills approach, combined with its mammoth production unafraid of grit or grime, makes for Echoes to be a force to be reckoned with.

Two tracks that call the album into question are not due to lack of quality, but simply their placement, namely alongside the highlight “Echoes.” Case in point, “Salvation” is by no means a poor track, but its jarring stoner-doom focus and Candlemass-esque barked vocals with a stark lack of death metal make its relatively toothless sound forgettable. Similarly, and more problematic, “Fading Light” must attempt to take up the mantle after “Echoes,” but its replication of the previously focused riffs pales in comparison due its sudden lack of exploratory songwriting, making its inclusion questionable. At least “Salvation” is a unique inclusion in stoner fuzz and barked vocals, while “Fading Light” feels almost entirely unnecessary. On a nitpicking level, “Conclusion” may feel underwhelming after “On the Verge,” while “A Reflection” is its weaker and more forgettable version. Although commanding, the vocals of Matias Nastolin are just a tad too loud in the mix, somewhat drowning out the riffs periodically.

Even if my perception of death/doom is skewed, I still had a great time with Echoes. Altar of Betelgeuze doesn’t pretend to be the best thing since Incantation. The trio offers a slow-motion beatdown that will get your head bobbing in a doom-centric style that doesn’t feel too slow, but rather finds the sweet spot of tempos that capitalizes upon the groove. Featuring a nice set of tracks that neatly weaponize stoner and traditional doom in ways that saturate rather than dominate, the focus is refreshingly straightforward and tastefully pummeling. Playing it close to the vest until the epic “Echoes,” Altar of Betelgeuze offers not the next chapter of doom, but a reason why people love it.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: altarofbetelgeuze.bandcamp.com | facebook.com/AoBofficial
Releases Worldwide: March 22nd, 2024

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