#Torche

2025-12-07

Atlantic – Timeworn [Things You Might Have Missed 2025]

By ClarkKent

The picture I have in my head of Ireland is an isolated, yet calming, place by the sea. Callan Hoy, from the western coastal town of Galway, further cements this image on the debut record of his atmospheric post-black project, Atlantic. It’s apparent that the setting is important to Timeworn, as crashing waves not only begin and end the album, but they make frequent appearances throughout. This gives the feeling that Hoy recorded Timeworn right along the shores of the Atlantic Ocean. A calm pervades despite the energetic black metal on display, making Atlantic a pleasing melodic journey you’ll want to play on repeat.

Atlantic alternates between atmospheric post-black metal and a much more poppy-style of black rock. The three longer tracks hue more towards the atmospheric (“Weathered,” “Underside,” “Spirit Trails”), but rather than atmoblack of the depressive variety, this is more of an uplifting form. Hoy’s guitar tones ooze feel-good vibes along the lines of Countless Skies, but with plenty of blackened reverb. These lengthier songs have a lot in common with the black metal of Starer and the black/shoegaze of Deafheaven. On the other end are the shorter tracks (“Timeworn,” “Voyages”), which sound almost like pop/rock songs, only with heavy reverb and dark growls. There’s a feeling of joy in the instrumentation that takes me back to Torche’s Harmonicraft. The drums by Milan Jejina bring out the pop with simple yet powerful beats that’ll get you bopping along. The combo of kitwork and catchy riffs make “Voyages” one of the most memorable tunes of the year.

There’s something about all of the performances that make Timeworn so pleasing to listen to. Hoy makes heavy use of tremolos to keep up a feeling of constant kinetic motion. The jubilant tone of the tremolos is pleasant enough, but the way Hoy blends melodies with the atmospherics elevates the music. The melodic elements also make the lengthier passages on songs like “Spirit Trails” work—they keep you engaged for every second. Hoy’s vocal performance is also nothing to sneeze at. His growls are guttural rather than the piercing screamo style of some shoegaze, and he has a surprisingly melodic cadence that helps fill up every second with satisfying, catchy sounds. Atlantic features very little cleans, but they do complement the growls on “Underside” and reveal just how versatile an artist Hoy is.

Timeworn is an impressive achievement, the mark of a young talent with strong songwriting clout. While most of the songs pass the seven-minute mark, they never meander or feel boring. Hoy mixes in the shorter, poppier tracks to create a varied and powerful listening experience. Atlantic blew me away when it crept into my Bandcamp feed back in April. Hoy has created something special that I think even those who don’t love atmospheric or post-black metal can appreciate. Given that it’s just a bite-sized 34 minutes, there’s no reason not to give it a spin—and then another as it calls to you like a siren luring unwitting sailors into the sea. But don’t worry, there’s no danger here, just some pleasant earworms.

Tracks to Check Out: “Underside,” “Voyages,” “Spirit Trails”

#2025 #Atlantic #AtmosphericBlackMetal #BlackMetal #CountlessSkies #Deafheaven #FiadhProductions #IrishMetal #PostBlackMetal #PostMetal #Starer #ThingsYouMightHaveMissed2025 #Timeworn #Torche #TYMHM

2025-11-05

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

Mark Wyner Won’t Comply :vm:markwyner@mas.to
2025-10-26

Music is my savior. Some people turn to Jesus. I turn to music.

Anyway…

Torche’s song “Across the Shields” is, just, like…sigh. It soothes my soul so much. When I saw them live and they played it, I felt it in my bones.

There aren’t many straight-forward, simple rock songs like this that feel so much bigger. It does so much with so little.

This is their playing it live. I hope you enjoy it as much as I do.

vid.northbound.online/w/fBhxe1

🧵 1/2

#Music #Torche #AcrossTheShields

2025-08-18

Right now, listening to #Torche – It never began

torche.bandcamp.com/track/it-n

2025-06-16

#TheMetalDogArticleList
#MetalSucks
David Ellefson Says He Misses Dave Mustaine: “We Had a Lot of Fun”
He misses his bro. David Ellefson Says He Misses Dave Mustaine: “We Had a Lot of Fun” .

metalsucks.net/2025/06/16/davi

#DavidEllefson #DaveMustaine #MetalSucks #Torche #ReunionShows #UK #Megadeth

2025-06-16
2025-06-16

#TheMetalDogArticleList
#MetalInjection
TORCHE Announces More UK Reunion Shows
All happening this September. TORCHE Announces More UK Reunion Shows appeared first on Metal Injection.

metalinjection.net/tour-dates/

#Torche #MetalInjection #Fallujah #Byzantine #Katatonia #GahlsWyrd #Vildhjarta #RiversOfNihil #Midnight #Witchcraft

Editions du Bunkereditionsdubunker
2025-02-15

Un peu de feu 🔥🔥🔥
Gamines aux mains bleues
De Héloïse Thual 🔴🔴🔴
@heloisethual

2024-08-27

POHL – Mysteries Review

By Steel Druhm

Written By: Nameless_N00b_87

There was a time when spending my nights playing in tiny, shoulder-to-shoulder music venues with the rank of perspiration, booze, and fog felt like home. These days, however, they are places I frequent rather than dwell, an aftermath of the stark reality that is the present-day music industry. Because­­­­— if nothing else— being in a band is hard work. This is a truth UK noise rock duo POHL understand. Despite suffering from various starts and stops over their twelve-year existence, guitarist/vocalist Will Pearce (ex-Hey Colossus) and rhythmist Dr. Linda Westman1 (ex-Old Hope) overcame adversity to release three EPs of gratifying experimental noise rock that pulled from a platter of influences like psychedelic, punk, stoner, and heavy metal. Four years have passed since their last offering and the Sheffield rockers have now returned with their debut LP Mysteries. Grab a tallboy and follow me as we rush to the front of the stage to discover what aural mysteries await once the lights drop.

Mysteries confirm that POHL have spent their four-year hiatus largely honing their sound. The unhinged, technical, sonic assault that was 2020’s Freakspeed has been reformed into a methodical layered cake of rumbling, dense, cosmic noise rock tailor-made to make yourself deaf. Their modern low-fi approach is simple and concise, with the thunderous sounds of Westman’s low-tuned drums powering a heavy groove of exceedingly distorted melody and sustain— a tip of the cap to the likes of Torche— with little variation in tempo, dynamics, and structure. Fortunately, Pearce’s vocals provide some much-needed experimental acidity to POHL’s fatty instrumental underbelly. They fluctuate between chants, harmonies, juvenile taunts, and callous yelling that reside somewhere between chaotic and schizophrenic. The weight and gravity of Pearce’s delivery demands your attention across the album’s nine tracks, as do the hefty lyrical themes of grief, faith, mental health, and substance use.

The good news first— Mysteries is full of quality moments that will cater to a broad range of tastes. POHL are at their best when they rely on their immersive blend of heavy groove and distorted melodies to create powerful yet simple slabs of pop-centric noise rock. First-half tracks like “THE WHALE,” “REVELATION,” “NARRATOR” and “GOD” are loaded with catchy hooks that are bolstered by Westman’s rhythms, Pearce’s harmonies and his relentless wails. Westman’s performance is particularly notable, demonstrating her ability to shift between heavy and powerful strokes to intricate and precise patterns, rightly complimenting the distorted sustain of Pearce’s open guitar chords and the thick fuzz of his riffs. Elsewhere, the percolating riff in “PERGAMON,” the acoustic interlude “UNTITLED II,” and Pearce’s hammer-ons and pull-offs in “GOD” prove that POHL are still capable of orienting towards the progressive than the noisy and unrelenting. These highlights are, in part, what made Freakspeed a success and the combination of head-bobbing groove with uncompromising atmosphere and emotive energy can create a satisfying listening experience.

But I came away from Mysteries disappointed. POHL’s systematic and repetitive compositions become well-worn by the album’s midpoint with prolonged opener “NARRATOR” immediately overstaying its welcome, or one-dimensional “CELLAR HEAD” lacking much variation in tempo or dynamics. Challenges in composition also rear their head throughout Mysteries short thirty-minute runtime, as the duo attempt to incorporate improvisational flair that abruptly redirects the current within some of the strongest contributions (“GOD,” “REVELATION,” and “THE WHALE”). Then there is the filler. Although “UNTITLTED 2” does an admirable job of providing a stimulating— and somewhat necessary— reprieve from POHL’s wall of sound, “THE DOOR” and “THE END” provide little value to the collective whole, causing the otherwise enjoyable “PERGAMON” to become guilty by association and skipped altogether.

POHL’s debut showcases their capability to craft heavy, atmospheric noise rock that blends catchy hooks with Pearce’s powerful vocals. It highlights some of the compelling elements of the duo’s sonic past while also indicating they are willing to take a few risks. Yet, despite their affinity for raw energy and power, repetition and monotony become challenging in the latter half and filler tracks offer little substance. With risk always looms the possibility of disappointment, and while shortcomings may detract from the album’s overall impact, Mysteries hints at POHL’s potential.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Wrong Speed Records
Websites: pohl.bandcamp.com | facebook.com/pohlrules
Releases Worldwide: July 26th, 2024

#25 #2024 #BritishMetal #HeavyMetal #HeyColossus #Jul24 #Mysteries #Noise #NoiseRock #OldHope #POHL #PsychedelicRock #PsycheledicMetal #Punk #Review #Reviews #StonerMetal #StonerRock #Torche #UKMetal #WrongSpeedRecords

2023-10-23

Une technique pour se débarrasser d'insectes volants importuns #telephone #lampe #torche

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