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

Regina – Liminal Space Review

By ClarkKent

At the end of each year, Angry Metal Guy likes to boast of the diverse coalition of readers who flock to these halls from all over the world, including the lone visitor from Vatican City. Just as important as the diverse readership is the diversity in the bands we review. So when Dolphin Whisperer excitedly brought to our attention a promo that would, if reviewed, be our first Uruguayan metal tag, I decided to take up the mantle as explorer to this uncharted frontier. Liminal Space is the debut album from Uruguayan alt-metal act Regina. The quartet first released an EP, Apology, back in 2019, but COVID paused work on any further material until 2024, when they started recording Liminal Space. Of course, music often transcends national boundaries. For one, musical influences are global in reach. For another, as in this case, the making of an album itself can escape borders. While Regina did their recording in Uruguay, the mixing and mastering followed drummer Nicolás Martín as he moved to Canada. That said, let’s see what Uruguay has to bring to the table.

One look at their Bandcamp page reveals that Regina dabbles in a variety of styles, but the nu-metal tag might stick out as a turnoff for many readers. While there are a few brief spoken/rapped sections, concerned readers can rest assured that Liminal Space leans stoner and grunge above anything else. They don’t play the blasting, riff-tastic stoner of High on Fire or Sergeant Thunderhoof, but a hazy, atmospheric version that relies on reverb and ample bass grooves. It’s almost a tale of two halves, with the front half leaning stoner and the back half grunge. Early on the songs have a much more freestyle form to them, such as the dreamy, sometimes psychedelic “S.M.E.G.M.A..” It’s not until “Age of Aquarius” that they really attempt any sort of riffs. The later grunge-y stuff like “Would You Like Some Fries With That?” and “Rot” have a more punky vibe with clearer traditional song structure. Closer “Rot” is a particular standout, sounding like a crossover between Nirvana and Tragic Kingdom-era No Doubt.

A charismatic lead is a must when going the alt route, and Regina has one in Sofia May. She fluctuates her voice seamlessly from chill to punk, bringing a poetic, stylistic interpretation of the lyrics. When she reaches higher notes she sounds an awful lot like Gwen Stefani and might have you on the lookout for spiderwebs (“Of Dicks and Whores,” “Dethroned,” “Whiteout”). On closer “Rot,” she channels not only the Hollaback Girl but also a mumbling Kurt Cobain—and I don’t mean that in a negative way. While her voice tends towards the gritty, she also softly chants and croons in a dreamy manner that reminded me of another band I reviewed earlier this year, the psychedelic doom outfit When the Deadbolt Breaks (“Hollow Crown,” “Sweet Embrace”). The diversity of May’s vocal delivery is a major asset on Liminal Space.

While Liminal Space is a very pleasant listen in the moment, the lack of hooky or melodic guitar riffs means that many of the tracks don’t quite stick. Regina relies almost too heavily on reverb, to the point that songs can be difficult to grasp, even as you might enjoy the detours the musicians take. The bassist does make up for this to an extent, often serving as the lead with a deft groove attack. Bassist Agustín Sogliano makes a particularly strong impression in the final minutes of “Rot” with some gnarly riffs. Fortunately, Liminal Shroud boasts clear production values that ensure no one instrument drowns out another. While the middle portion of the 48 minute album sags a bit, the surrounding music is enjoyable enough to recommend at least a few listens.

With the spunky Regina as its AMG representative, Uruguay is off to a good start. True, it might be a little uneven, but I also found their diversity to be a strength. From atmospheric psychedelic stoner to more punky grunge, Liminal Space has something for fans of either genre. And Sofia May proves to be a strong front woman. She helps carry the minimalist, piano-driven “Open Cage,” proving that Regina can make almost anything work as long as she’s leading the charge. This holds promise for future outings where more songwriting experience should lead to more cohesive, stronger compositions. Now that Uruguay has a band reviewed on AMG, I’m eagerly awaiting Vatican City to send in their promo.1

Rating: 3.0/5.0
DR: 8 | Format Reviewed: ALAC
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: September 12th, 2025

#2025 #30 #AltMetal #Grunge #GwenStefani #HighOnFire #LiminalSpace #Nirvana #NoDoubt #PsychedelicRock #Regina #Review #Reviews #SelfReleased #Sep25 #SergeantThunderhoof #StonerRock #UruguayanMetal

Wish You Were Here – 50 Years Later is a tribute to the classic Pink Floyd album by contemporary heavy psych bands who were influenced by it. Review at FFR, https://flyingfiddlesticks.com/2025/09/11/wish-you-were-here-50-years-later-pale-wizard-2025/ @memphiamanagement @palewizard @mos_generator @hippiedeathcultband @highdesertqueen @sergeantthunderhoof #heavymetal #rock #metal #hardrock #prog #progrock #progressiverock #PinkFloyd #PaleWizardRecords #HippieDeathCult #MosGenerator #HighDesertQueen #SergeantThunderhoof #Duskwood

#TheMetalDogArticleList
#BraveWords
Pale Wizard Records To Release 50th Anniversary Tribute To PINK FLOYD With Wish You Were Here – 50 Years Later Feat. SERGEANT THUNDERHOOF, HIPPIE DEATH CULT, MOS GENERATOR And More

https://bravewords.com/news/pale-wizard-records-to-release-50th-anniversary-tribute-to-pink-floyd-with-wish-you-were-here-50-years-later-feat-sergeant-thunderhoof-hippie-death-cult-mos-generator-and-more/

#PINKFLOYD #SERGEANTTHUNDERHOOF #PaleWizardRecordsToRelease #Anniver...

Witchcraft – Idag Review

By Mystikus Hugebeard

Once, Witchcraft were a prominent figure in the analog rock/metal scene, mentioned alongside acts like Orchid, Uncle Acid and the Deadbeats, and The Sword. They treated us to some right bangers like 2005’s Firewood and 2012’s Legend, and I was eagerly anticipating whatever might come after 2016’s Nucleus. What eventually followed was the acoustic and intensely somber Black Metal, which struck me as less of a Witchcraft album and more as a hyper-personal form of artistic expression by multi-instrumentalist frontman Magnus Pelander, something meant for him and him alone. It’s an honest and compelling artistic work, but it can be difficult to recall amidst the context of Witchcraft’s proggy occult doom/rock discography. Now, with two fresh band members, Witchcraft have reincorporated the lo-fi buzz n’ fuzz of their analog roots in 2025’s Idag.

When I first snagged Idag, I was struck by Witchcraft’s label change from Nuclear Blast to Heavy Psych Sounds, but it becomes immediately apparent as to why upon first listen. Idag is notably fuzzier than Witchcraft’s previous work, leaning heavily into the stoner-doom sound. In some cases, this manifests as Pentagram-adjacent chugging doom in the beefy riffs of “Burning Cross” or the slowly building grooves of “Idag.” The Coven-meets-Sergeant Thunderhoof nature of proto-Witchcraft is still present in the faster grooves of “Drömmar Av Is” and “Drömmen Om Död Och Förruttnelse,” though they haven’t escaped a healthy coat of fuzz. Some moody Black Metal acoustics return as well, given a refreshing shot of vigor without sacrificing atmosphere like in “Christmas.” Idag is all around well-produced and well-performed; it’s easy to buy into Idag, whether you’re a newcomer or returning fan.

Then again, it’s never been hard to buy into Witchcraft, because Witchcraft have long since established a pattern of writing rock solid music, and that’s exactly what Idag is: rock solid. The best songs in Idag will often find a strong core groove and then let it carry the bulk of the weight. “Drömmar Av Is” is a punctual tune that lands on a critically funky groove right out of the gates and hammers it home with minimal distraction. This song contrasts well with the more varied tunes like the eight-minute opener, “Idag,” which follows a similar philosophy of sticking to strong core ideas, all of which are given appropriate time to germinate with a delightful tempo increase in the latter half to keep the song from stagnating. Idag’s riffs might not always be the most audacious or inventive riffs ever made, but they’re effective and catchy. Then again, Idag is undeniably elevated by Pelander’s killer pipes. He’s the sort of singer you could recognize in anything, and his rich voice adds a lot of character to the music. Unintentional or not, I enjoy the detail of his voice sounding oh-so-slightly off-key with some of the guitars in “Om Du Vill.” It’s a nice touch of authenticity and reintroduces some of the vulnerability from Black Metal.

That authenticity also strikes at the chord of what makes Idag work for me; to my ears, from a songwriting standpoint, Idag is the sort of thing one might hear blasting from a garage, whereupon you’d find a couple of lads bangin’ on their instruments in ways that Just Sound Neat. That unrefined quality, that coarseness, is something I cherish, and Idag scratches that itch. The lead guitars across Idag howl with warbling feedback, and I love the unrestrained summer fun of the drum and guitar fills in “Irreligious Flamboyant Flame.” It is a bit of a double-edged sword, though. I appreciate the grime, but I also recognize that Idag lacks the consistency and focus to truly hook me like Legend did. It’s not like Witchcraft are suddenly a “jam band” on Idag, but it’s giving the moniker some funny looks. There are just enough frustrating oddball choices to be noticeable. As a comparatively longer song and practical closer, “Spirit” lacks the escalation that made “Idag” work, and the chorus in “Irreligious Flamboyant Flame” is a bit limp. Furthermore, both “Gläntan (Längtan)” and the actual closer “Om Du Vill (Slight Return)” feel out of place and borderline pointless.

I was lukewarm on my first spin of Idag, but it has grown on me. It might not be the most essential Witchcraft record, but it is nevertheless worth the time of any Witchcraft fan or purveyor of fuzzy stoner jams. But no matter how I felt about Idag, it wouldn’t have been a more potent feeling than my relief that Witchcraft is still making music. I will always look forward to their next release.

Rating: 3.0 / 5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook | bandcamp
Releases Worldwide: May 23rd, 2025

#2025 #30 #BlackMetal #Coven #Firewood #HeavyPsychSoundsRecords #Idag #Legend #May25 #OccultMetal #OccultRock #Orchid #Review #Reviews #SergeantThunderhoof #StonerMetal #StonerRock #TheSword #UncleAcidAndTheDeadbeats #Witchcraft

SERGEANT THUNDERHOOF (Regne Unit) presenta nou àlbum en directe: "Avon Calling" #SergeantThunderhoof #PsychedelicStoner #DoomMetal #Març2025 #RegneUnit #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

Sergeant Thunderhoof – The Ghost of Badon Hill [Things You Might Have Missed 2024]

By Saunders

Back in 2022, a sneaky filter piece alerted me to the existence of UK progressive, psych-drenched stoner rock/metal band Sergeant Thunderhoof and their wonderfully written fourth album, This Sceptred Veil. It nabbed a well-deserved spot on my year-end list, remaining in solid rotation since its release. November 2024 saw Sergeant Thunderhoof return with their highly anticipated follow-up to that game-changing album. Dropping midway through the month, conceptual album The Ghost of Badon Hill took a few listens to sink its teeth in. Meanwhile, as the year rapidly drew to its conclusion, it didn’t quite garner the level of attention it inevitably deserved to properly consider for list season. With their signature style and inventive songwriting on full display, Sergeant Thunderhoof delivered a finely crafted offering and differing beast to its immediate predecessor.

Despite its epic, slightly bloated length, This Spectred Veil was a more immediate, punchy album, featuring epic progressive compositions and a swaggering, hard-rocking immediacy, particularly on such boisterous, rollicking numbers as “Devil’s Daughter,” “Woman Call,” and “Show Don’t Tell.” In comparison, The Ghost of Badon Hill is a more subdued, measured affair, exemplified by brooding, slow-burning opening cut “Badon,” a haunting, acoustic heavy offering that builds satisfyingly to a sludgy, psych-doom-addled climax. It’s the kind of tune that takes a handful of listens to fully appreciate, rewarding repeat listens. “Blood Moon” contains a similar vibe to the straightforward rocking material from This Spectred Veil. Groovy, punchy riffs, emotive leads, and a typically gritty, yet soulful singing performance from immensely talented frontman Dan Flitcroft defines another well-crafted, hooky rocker in the Thunderhoof repertoire. “Salvation for the Soul” demonstrates their bread-and-butter knack of throwing down thick, burly stoner-doom riffs, fat grooves, and irresistible hooks within tightly coiled, progressive frameworks.

Conceptually delving into the history, mysticism, and folklore of Somerset (set in the 4th Century AD), The Ghost of Badon Hill possesses a darkly enchanting, melancholic atmosphere, dripping with their trademark moody and emotive delivery. Sergeant Thunderhoof’s muscular progressive tendencies amidst the album’s restrained approach, are given platforms to gradually unfurl and develop on the stirring longer form epics (“The Orb of Octavia,” and heart-wrenching closer “Beyond the Hill”). Shifting effortlessly through dynamic arrangements, moods and textures, earwormy hooks, and melodies are never far from the surface, as skilled musicianship, excellent vocals, and exemplary guitar work cuts deeply. The highs may fall short of its predecessor, however, The Ghost of Badon Hill wins points for its interesting concept, cutting emotional resonance, and compact duration (sporting a significantly shorter runtime than This Spectred Veil). Each song comes uniformly well-constructed, nuanced, and deceptively infectious.

The writing is never less than engaging and the hooks penetrate deeper with subsequent listens. Following initial reservations, The Ghost of Badon Hill developed into an increasingly addictive listen, a genuine grower, demonstrating the band’s continued growth and maturity and standing tall alongside higher profile contemporaries, such as Green Lung. The Ghost of Badon Hill is a richly rewarding platter of groovy, proggy, emotive delights, reinforcing Sergeant Thunderhoof as an elite and unappreciated heavyweight in the hazy realms of psychedelic, progressive and stoner-influenced rock/metal.

Tracks to Check Out: “The Orb of Octavia,” “Salvation for the Soul,” “Sentinel”

#2024 #GreenLung #HeavyRock #PaleWizardRecords #ProgressiveMetal #Review #Reviews #SergeantThunderhoof #StonerMetal #TheGhostOfBadonHill #ThingsYouMightHaveMissed2024

2. #Skraeckoedlan: Vermillion Sky

https://album.link/i/1726248950

#Fuzz #Stoner

FFO #InTechnicolour #SergeantThunderhoof #TheUglyKings

The fifth studio album from Somerset bards Sergeant Thunderhoof is The Ghost Of Badon Hill. Review at FFR, https://flyingfiddlesticks.com/2024/11/12/sergeant-thunderhoof-the-ghost-of-badon-hill-pale-wizard-2024/ #metal #heavymetal #rock #hardrock #stoner #stonermetal #PaleWizardRecords #SergeantThunderhoof #psychedelic #psychedelicrock #stonerrock #UK #Bath

AMG’s Unsigned Band Rodeö: Thunderon – Beyond the Glow

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.”

Though the Rodeö doesn’t always host the most immediately successful of bands, we do at least go out of our way to provide, hopefully, a spike of exposure to some lesser-known acts whose word of mouth hasn’t reach far. New York’s Thunderon has been busy toiling away since 2017, a couple EPs to their name leading up to this debut full-length endeavor, which was recommended to me on our humble discord server by none other than Anthony DiBlasi of Inherus,1 who has gigged with Thunderon. And when I saw that these humble, groovy doom-mongers only had about 20 monthly Spotify listeners to their name, and no one to update their newest release onto the Metal Archives,2 I knew that we had to roll them around with our rowdy, starving Rodeö-folk. So sit back, pour a pint nice and frothy, and settle down with our equally grumpy and thumpin’ cast’s take on Beyond the Glow – Dolphin Whisperer

Thunderon // Beyond the Glow [June 9th, 2023]

Sentynel: Stoner doom and similar genres are difficult to do well, and harder still to stand out in. Slow, laid back, repetitive and atmospheric are not a set of adjectives naturally associated with particularly banging riffs. Thunderon actually handle this really well. This isn’t to say that there aren’t some moments that drag. When Thunderon slows down, they can lose me a bit. Beyond the Glow’s midsection—”Medics in Masks” and “Only Ashes Left Behind”—is the main offender here. The rest of the album keeps moving a lot better, and when they go for it, I defy you not to involuntarily bang your head. The closing minutes of the title track and record, when the buoyant solo melody comes in above a huge riff, are genuinely some of my favorites of the year. Other songs are similarly sprinkled with highlights—the opening riff on “The Process,” the melodic touches on “The Rival,” the vocal melody on “Only Ashes Left Behind.” I really like Derek O’Donnell’s vocals in general. Stoner vocals can trend dull or even irritating, but while he’s not the world’s showiest singer, he delivers a really interesting performance with a pleasant, listenable timbre. All in all, Beyond the Glow is a really promising debut, and building on the bits that work and tidying the rest could make the next album great. Good.

Saunders: Following a pair of EPs, New York’s Thunderon arrive with their debut LP, hoping to make a splash in the murky waters of the stoner/doom scenes. Beyond the Glow features six weighty nuggets across 40-odd minutes of psych-tinged reflections, capturing elements of classic doom, hard rock, stoner and more contemporary doom and post-rock influences. Solidly produced and well played, Beyond the Glow exhibits plenty of promise, guided by thick, tasty axework from Ian Weinberger, steady percussion, and the interesting pipes of bassist/vocalist Derek O’Donnell. Thunderon’s style is reasonably diverse within the field, but not too scattershot or convoluted. Old timey influences and stylistic nods to contemporaries such as Pallbearer, Khemmis, and Sergeant Thunderhoof occasionally come to mind. “The Process” kicks the album into gear in solid fashion, delving out heavy-hitting rhythms, noteworthy guitar work, and the expressive, dramatic clean singing of O’Donnell. Slow-burning “Spire Fire” hits a sweet spot of doomy heft and emotive punch. Despite its strengths and easy-listening vibes, Thunderon have ample room for songwriting growth. Meandering elements and overstuffed songs create some bloat. In particular “The Rival” goes nowhere fast, and lengthy closer “Beyond the Glow,” cool moments aside, does not quite have the songwriting fuel to justify its length. Meanwhile O’Donnell’s emotive, expressive vocals are impressive, but don’t always stick the landing, however, this may be more of a personal preference. Still, promise abounds for a more impactful blow down the track. 2.5/5.0

Itchymenace: Beyond the Glow is an apt title for this album. Thunderon shoots their load in the first song and the remaining 35 minutes are more or less a fading post-coital afterglow in which you start to wonder when it’s appropriate to move on and go make a sandwich. The band channels Master of Reality era Sabbath with big chunky riffs that can be fiery one minute and clunky the next. Where Tony Iommi balanced the riff with melody, Thunderon relies on repetitive themes and a few odd time signatures. This may appeal to stoners but becomes monotonous to my ears. “The Rival” is a textbook example of a song that delivers some thunder upfront but quickly fizzles into a seven-minute drone-fest. Besides opener “The Process,” the one other potentially great song is “Spire Fire” but the horrendous lyrics snuff out any flickers of musical brilliance. Who thinks a song about burning down churches is a good idea in 2023?3 More like “Cringe Singe.” My final gripe about this record is the vocals. The singer puts a lot of attack on the front end but lacks emotion, melody or nuance. The net effect is a flatlined delivery that makes most of the songs sound the same. I hate being hard on new bands but this one did very little for me. 1.5/2.0

Iceberg: Thunderon might be my new favorite bar band if I’m ever in the suburbs of NYC. I was worried the doom/stoner tags would lock me into an hour of meandering and repetitious droning, but these Westchester fellas know how to handle song form. Fuzzy classic doom riffs lay a solid—if expected—foundation, but it’s in the unexpected textures where Thunderon really shine. Shimmering acoustic guitars create a neat bookend on “The Rival,” and the sparse, psychedelic space synths in the middle section of the ambitious 9-minute “Beyond the Glow” pair perfectly with a bonkers alien abduction lyric concept. The drums navigate longer instrumental sections by changing up tom/cymbal work and focusing on dynamic build, and the guitar leads vary from post-metal long tones to classic 70s-influenced licks. Add a vocalist who’s one part Ozzy Osbourne and one part Chris Cornell and you’ve got a recipe for some engaging, non-somnambulant doom! Sure, there are a fair amount of tempo shifts that feel stilted and sometimes the rhythm section’s lockstep is on the wrong side of loose, but these feel like cosmetic issues and not foundational ones. Closer “Beyond the Glow” is a bit of a Hail Mary that probably needs some trimming to hide its seams, but the track succeeds in feeling shorter than it is, which is a win for doom/stoner act. If you’re looking for relentless, infectious fuzzed-out doom, you could do a lot worse than Thunderon’s debut. 3.0/5.0

#2023 #AmericanMetal #AMGSUnsignedBandRodeo #BeyondTheGlow #BlackSabbath #DoomMetal #HardRock #IndependentRelease #Inherus #Jun23 #Khemmis #Pallbearer #SelfRelease #SergeantThunderhoof #StonerDoom #StonerMetal #Thunderon

speaking of decent threads, here's my latest swag 😍

back of shirt is the album cover, grabbed from bandcamp

#SergeantThunderhoof #ThisSceptredVeil
#psychedelic #stoner #doom #HardRock