Nashville fuzzy power trio Howling Giant reissue their self-titled demo from ten years back in an upgraded version with bonus tracks. Review at FFR, https://flyingfiddlesticks.com/2025/01/03/howling-giant-howling-giant-2025/ #metal #heavymetal #rock #hardrock #HowlingGiant #progrock #progressiverock #stoner #psychedleic #stonerrock #powertrio

Horseburner – Voice of Storms Review

By Mystikus Hugebeard

I believe that the words I used when Steel informed me that a new Horseburner album was in the bin were, quote, “About fucking time!” Sure, it’s only been five years since The Thief, and in the grand scheme that’s nothing. I’ve tried on plenty of stoner/sludge/doom groups during that wait (when I wasn’t listening to Conan’s Existential Void Guardian for the zillionth time) but through it all I kept coming back to Horseburner. So as far as I’m concerned, a new Horseburner couldn’t arrive fast enough. After my time with Horseburner’s newest release, Voice of Storms, I can say with confidence that it’s not only a solid album of great Horseburner-brand sludge-prog jams, it’s a fascinating step forward for a band committed to evolving their style.

Horseburner’s usual comparisons to Mastodon, Baroness, and Howling Giant still hold up, but Voice of Storms reminds me more of Mastodon than ever before. “Palisades” in particular immediately made me think of Once More Round the Sun the first time I heard it; the guitars fly through frantic noodling and big, satisfying riffs, the vocals are a harsh but melodious growl, and the drum fills are constant. Even the less hyperactive songs like “The Gift” and “Heaven’s Eye” have a great Mastodon-esque sense of dynamic energy and momentum. The overall sound of Voice of Storms is a bit cleaner this time, with the guitar’s grit toned down from The Thief. I’ve always loved the edge that grit brought to Horseburner’s riffs, but Voice of Storms still has a satisfying, sludgy fuzz that’s a joy to experience.

Where The Thief saw Horseburner zeroing in on their sound and taking bolder strides in their songwriting, in Voice of Storms Horseburner expands on their songwriting abilities by refining them. Some of their more frenetic progressive tendencies have been eschewed for a tighter scope and stronger focus on melody, and the result is an album of distinct, highly memorable songs. Just after a first listen, every song sticks out even at a cursory glance; the insanely catchy melody in “Hidden Bridges,” the frantic pace of “Palisades,” the big, beefy riffs contrasting the lightning-quick verse in “The Gift,” or the sprawling, epic escalation of “Widow.” These core motifs make the songs easy to latch onto and highly re-listenable, but Horseburner’s real achievement is how energetic the music is while never losing control. This energy plays into the themes as well; Voice of Storms is an allegory for the mistreatment of women throughout history. The energy feels almost impossible to contain like it’s fighting against the limits of the songs themselves, and it gives Voice of Storms an unrelenting but thrilling pace.

If Voice of Storms were a vacuum, there would be scant little to complain about. The latter half of “Diana” starts to recycle ideas without enough escalation to justify the runtime, and I’ve never quite connected with the interlude “Silver Arrow,” but I struggle to muster any real annoyance. But while Voice of Storms is the more consistent album, the high points don’t hit quite as high as those from The Thief. Because of the toned-down grit, heavy riffs like those in “The Gift” or “Widow” don’t have a similarly massive impact as something like “Hand of Gold, Man of Stone.” That thick, crunchy tone paired with the violent riffage made The Thief’s best moments downright electrifying; I never had a similarly rapturous moment in Voice of Storms as I did the first time I heard “Fathoms.” Still, if this were somebody’s first Horseburner album, they wouldn’t be missing some crucial piece of the puzzle. But the crunchier elements from Horseburner’s past are somewhat missed by a curmudgeonly fan like me.

I know this review is late as sin, but I wanted to get it out there because Voice of Storms deserves your attention. Horseburner could have just made another Thief and I’d have eaten it up, but Voice of Storms comes from a yearning desire to never stop changing and the results are great. Maybe sometimes a few things are lost in the churn of evolution, and I’d love to see some of Horseburner’s heavier sensibilities return in the future, but it’s difficult to ignore Horseburner’s achievement here. Voice of Storms is well-written, full of energy, and is Horseburner’s most consistent release to date; this is a vital album for Horseburner fans and for anyone looking for a refreshing slab of dynamic sludge metal.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: PCM
Label: Blues Funeral Recordings
Websites: facebook | bandcamp
Releases Worldwide: June 21st, 2024

#2024 #35 #AmericanMetal #Baroness #BluesFuneralRecordings #Horseburner #HowlingGiant #Jun24 #Mastodon #ProgMetal #Review #Reviews #SludgeMetal #StonerMetal #TheThief #VoiceOfStorms

Melvin and The Melvins Rodeö: Melvin Ditches His Pills and Reviews Tarantula Heart

By GardensTale

“Melvin’s The Melvins Rodeö” is a time-honored single-instance tradition that won’t be repeated, unless it will. The doctor said — to no effect at all — that Melvin should take his prescription as usual and let one of his many writer personalities showcase the most underground of the underground—seminal co-founders of both grunge and sludge, The Melvins, whose legacy speaks for itself. This collectividual review treatment continues to exist to unite me, myself and Melvin in boot or bolster of the band who reminds us that, for better or worse, the metal underground exists as an important part of The Melvins. Melvin rides on.”

For over twenty albums The (the) Melvins has been distilling wild tones through rockin’ and trippin’ soundscapes. Through their forty-plus year existence, they’ve carved both essentials of the stoner/sludge sound—approximately 1991’s Bullhead through 1994’s Stoner Witch—as well as albums that, well, aren’t so great—arguably Prick, some early 00s cuts, a few really odd EPs and such… also arguably there’s just too much Melvins. But hey, what does that matter when guitarist/vocalist Buzz Osborne and drummer/sometimes bassist Dale Crover have been at it for this long, living their dream year after year. Participating in similarly weird acts like Fantômas, and arising from the ashes of messy punk bands Fecal Matter,1 Stiff Woodies,2 and Brown Towel, Melvins penchant for low rent good times is inbred and part of the charm. So where does that leave this 27th full-length studio release, Tarantula Heart? King Buzz himself claims that it’s unlike any other Melvins release to date, owing to a backwards way of writing where songs were cobbled together from improvised riffs and melodies. But what say us Melvins? Surely only Melvins can judge Melvins… – Melvin(s)

The Melvins // Tarantula Heart [April 19th, 2024]

Melvin: If you think about it, we’re all Melvins around here, and so the Melvining is finally upon us and our sweet new jam band is back and ready to rip some faces. Or whatever. Look, I get that Melvins are super iconic,3 but I’ve never offered a listen beyond just an “oh that’s a Melvin, I see” with a song here and there. So Tarantula Heart is quintessential Melvins, and that’s super rad, dude, because we’ve got ourselves some sorta arachnophobic blend of stoner rock, noise rock, sludge, and grunge. Take near twenty-minute opener “Pain Equals Funny,” which kicks off with a bright and shiny riffage straight outta Howling Giant4 before dragging the sound into a dark hole like a brown recluse yoinks its prey, complete with squelching and gore that you expect, sludgy riffing colliding with reverbed drawls only to be hit with psychedelic guitar and straight-up noise that sound like Swans’ The Seer. It’s a goddamn shame or maybe a blessing, because the following tracks simply do not live up to the hype, but that doesn’t stop “Working the Ditch” and “Allergic to Food” from being menacing sludgy bangers, or the spidery and dissonant “She’s Got Weird Arms” and “Smiler” from being like that guy who chooses the urinal right next to you. And like that guy, Melvins according to the Melvins is like that guy: awkward, jarring, and ridiculously uncomfortable. But you can’t help but look at that tremendous dong. 3.5/5.0

Melvin: Let’s get weird with The Melvins! The experimental composition method leaves something akin to a curated jam, parceled out into four tracks until the band got bored and lumped everything else into the nineteen minute opener. To pull this off you must be a band with decades of experience and a penchant for weird psychedelic shit. Good thing The Melvins fits that description! “Pain Equals Funny” is a grand journey with grandiose energy, but it’s surprisingly listenable for something so free-form. Founder, vocalist, guitarist and exploded hairdo Buzzo sneers and croons with good, sardonic spirit, and the amount of feedback-laden riffs lend a noise-like sense of grit to the experience. Putting the big jammy epic up front is a ballsy choice, but a smart one, as the lethargy that starts setting in by the end is counteracted by the high energy of the Tarantula Heart’s remainder. “Working the Ditch,” a dark and biting piece of nasty sludge, and the unhinged avant-punk of “Allergic to Food” are the highlights here, but every track is worth your time. In a way, Tarantula Heart is review-proof. The Melvins sets out to experiment and muck about a bunch, and whatever came out of that, the goal was already met. But if you allow yourself to release the reins entirely and ride the insanity, the result is much more enjoyable than I had expected. Kudos for the old coots! 3.5/5.0

Melvin: Melvins are a legendary institution in whatever niche you place them in. Be it experimental rock, sludge, grunge, stoner, or alt-everything, they blazed a wicked career of freakishness doing whatever they wanted without regard for commercial success. For Tarantula Heart, their 20th release (depending on how you count collaborations), the band decided to try an unusual approach to songwriting. The members each came up with ideas independently of one another and eventually came together to try to piece them into actual songs. That’s either a recipe for a musical tire fire or something truly ingenious. So which is it? In classic Melvins style, it’s a bit of both. As always, they challenge the listener. This time by opening with the nineteen minutes of “Pain Equals Funny.” It’s a weird, meandering song that tests the listener’s ability to sit still and it doesn’t fully work, but there’s a legitimately good eight or nine-minute song buried in the excessive drone, dissonance, and dead spaces. “She’s Got Weird Arms” sounds like Talking Heads got into the shrooms and then wrote a song with Oingo Boingo. It’s good, but super odd. Also repulsively attractive is the bizarre “Allergic to Food” which reeks of Butthole Surfers and even Beck. Closer “Smiler” is a sludge rock missile fired right at your bases and it hits hard. I want a whole album of this shit. I didn’t get it, but Tarantula Heart is more or less what you expect from Melvins. It’s all over the map, but the good outweighs the truly fucked up, barely. 3.0/5.0

Melvin: The band that arguably ushered in grunge, only to watch it die and have finely goateed vultures pick its bones, brings us their latest bag of tricks, and it wouldn’t be a new Melvins record without a healthy dose of “what fresh hell is this?” Tarantula Heart sits firmly in a jammy, noisy, sludgetastic sound world, and if wildly ambitious nineteen-minute opener “Pain Equals Funny” is any indication, has zero fucks to give whether or not you “get it.” Regardless of your experience with the band that was named after yours truly in the bathroom of a Thriftway, Tarantula Heart saves its rewards for the patient and open-minded listener. Lose yourself in the extended jams and hypnotic swirling of “Pain Equals Funny,” bob your head to the dual-drummer-drumming of “Working the Ditch,” and let your sanity melt away in The Twilight Zone-esque atmosphere of “She’s Got Weird Arms.” Sure the longform of “Pain Equals Funny” loses its steam more than once in its meanderings, and the material often feels more like improvised jams and not fully-clothed songs, but there’s a real charm to the devil-may-care attitude on Tarantula Heart. Fans of Melvins will continue to be impressed on the band’s 27th(!) record, and I think this one may make a few new converts yet. 3.0/5.0

Melvin: Melvins are unmistakable in their craft, and this newest venture in its adventurous construction—spontaneously reconstructed jam-based songs—lands no different. Thick, crunchy riffs that swagger alongside rhythms with a psychedelic stumble, every moment of Tarantula Heart feels like a night lost to memory of a little too much to drink and not enough hours to blow it off. Ever warm and so carefully distorted, longtime fuzz-slinger Buzz Osborne worships amp noise and twangy march all the same. Sometimes the droning feedbacks that inspire bands like Boris last for minutes and minutes dissolving against phasing drum chatter and swooshing noise patches (“Pain Equals Funny”). At others, wailing, modulated lines screech in spite of double-drumkit marches and rollicking riff patterns sure to please fans of olde Melvins and emerging psych/stoner leaning rock acts like King Gizzard & the Lizard Wizard alike. Whatever the case, an undeniable and persistent groove underlies every movement and helps long-form and short-form statements feel like one, well-worn cabinet-blowing performance. Cobbled of memorable phrases and improvised excursions, Tarantula Heart spins a web enough to catch, a glimmer enough to fascinate, and a vibe enough to settle in. Comfortable, composed, and loaded with practiced energy, Melvins at play continues to be worth a listen, even if their most groundbreaking work is far behind them. 3.0/5.0

#2024 #AmericanMetal #Apr24 #Beck #Boris #ButtholeSurfers #Grunge #HowlingGiant #KingGizzardAndTheLizardWizard #Melvins #Noise #NoiseRock #OingoBoingo #PsychedelicRock #Sludge #StonerRock #Swans #TalkingHeads #TarantulaHeart #TheMelvins

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Album Review: HOWLING GIANT Glass Future
"Glass Future is a prog-dripping delight that simply oozes charm, beauty and that psychedelic X-factor."

https://metalinjection.net/reviews/album-review-howling-giant-glass-future

#HowlingGiant #GlassFuture #AlbumReview #MetalInjection #ProgressiveMetal

Nashville psychedelic stoner band Howling Giant captivate on their new album, Glass Future. Review at FFMB, https://flyingfiddlesticks.com/2023/10/25/howling-giant-glass-future-magnetic-eye-2023/ #metal #heavymetal #rock #hardrock #HowlingGiant #stoner #stonerrock #stonermetal #Nashville #Tennessee #psychedelic #MagneticEyeRecords

Howling Giant - Glass Future [Official Music Video]

https://youtu.be/BocaIPkzFEg

#music #metal #heavymetal #doommetal #stonermetal #howlinggiant #magneticeyerecords

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HOWLING GIANT Drops Music Video For Glass Future Title Track
It's been a good year for the otherworldly storytellers trio.

https://metalinjection.net/video/howling-giant-drops-music-video-for-glass-future-title-track

#HowlingGiant #GlassFuture #MusicVideo #MetalInjection #HeavyMusic #NewVideo #RockNRoll #VideoPremiere #DoomMetal #ProgRock

Howling Giant - Sunken City

https://youtu.be/jx1uLojFmfw

#music #metal #stonermetal #howlinggiant #magneticeyerecords