Genre: Sludge/Doom/Stoner Metal
Label: Relapse
Date of Release: April 30, 2013
WICKED FUSED SLUDGE
Providence, Rhode Island quintet Howl is certainly not the
most uplifting group in the metal scene. Since 2007, they have put themselves
out as a band whose formula is to combine the slow violence and melodies of
sludge metal with tinges of doom and stoner, as first shown in their debut EP
in 2008 under the group’s name. That release ended up catching the attention of
American metal and rock label Relapse Records, who is famous for signing iconic
bands such as Necrophagist, Dying Fetus, Obscura, and plenty of others. Soon
afterwards, Howl unleashed their debut full-length album “Full of Hell” in
2010. Later on, the band underwent a few lineup shifts, and three years after
the release of the previous record, it was about time for the group to give its
audience another helping of their metallic onslaught. That album would be their
second full-length record simply entitled “Bloodlines.” In a matter of
approximately forty minutes, Howl makes its return and creates a very solid and
destructive specimen of sludge metal yet again.
Like before, the group continues to deliver its heavy blows
with dark and sludgy metal to pummel the audience. However, there is one major
change that Howl has undergone that is very evident in this release: the sound
production has inched away from its raw and trashy sound to a more solid and
polished sound. Sadly, this is sort of a problematic decline with this album,
because it does take away from the resonant atmosphere and power that made “Full
of Hell” and the debut EP very compelling releases. Nonetheless, there is a
positive side to this newer production, because it still manages to have every
instrument stand out while sounding compact.
As for the music, it is overall done very well. The
polymerization between the slowly crushing sludge and gloomy doom metal is very
seamless, and on top of that, the music itself is overall very explosive, in
its hooks and build-ups. The album as a whole doesn’t really lend itself to be
very inventive for its genre, but it is nevertheless nothing short of
enjoyable. Also, the musicianship is excellent, and it really brings out the
color of the vile sounds that “Bloodlines” has to offer. The wicked vocals,
consisting of snarly high-pitches and throaty roars, definitely sound beastly, sounding
somewhat more like a creature than a vocalist in how well they are done. The
guitars also possess some murky riffs in the notes they hit and the way they
are mixed and sound, as well as the solid and potent drums. The sludgy metallic
destruction that “Bloodlines” has to offer is definitely well done, and despite
the slight shortcomings, it certainly shows the dark and vapid side of the
genre fusion.
However, despite the album appealing mostly to the muddiest
corners of the sludge metal genre, there is also plenty of melody lingering
throughout the course of the release. This aspect is carried by both the
guitars and the vocals, and in both respects, the melodies are also performed
well here. The vocals sound very bold and rather sonorous, and although they
only play their part occasionally in the course of the entire release, they are
done great when they appear. The guitars also fare well in this regard, with
solos and melodies being somewhat hinted with a southern edge, with the
introduction of the album’s first single “Attrition” being a grand example of
this. Speaking of this hint, the melodies laden in this album are definitely
appealing to the the old-school doom and stoner metal sides of the band’s
fusion, being slow-paced but slithery in the way the riffs are played out and
the way the singing is mixed and modified to create a subtle, psychedelic-doom
atmosphere. On top of that, they also help in establishing a sense of
dynamicity in the contrast to the murkiness of the other side of the sludge
metal that Howl demonstrates in “Bloodlines,” making it more engaging. In doing
so, they also do not cause any loss of focus in the album, because everything
is tied together by the sinister tones that define the album’s dark nature. As
a result of all these positive elements coalescing, the melodic side of the
album is done as well as the more devastating side of the sludge metal coin,
and it is overall performed very nicely.
Overall, “Bloodlines” has proven to be a nice follow-up
release to the stellar debut “Full of Hell,” even though it is slightly inferior
to it, due to the decline in terms of the sound production and the overall
intrigue and innovation. However, this doesn’t stop the release from being a
pleasurable listen. The fusion between the sludge, doom, and stoner genres is
written and played out very well, in both the destructive and melodic realms. In
terms of the destructive side, the sludgy riffs, potent vocals, and the solid
drumming all mesh together and make way for treading over the well-built structures
of the tracks very decently. On the other hand, the melodies are also performed
greatly, providing dynamicity while remaining loyal to the dark, harsh tones
that the album overall has to give. With all things considered, “Full of Hell”
is still the group’s best release, but even so, that is no reason to not give “Bloodlines”
a shot. Fans of the older releases may be a tad disappointed by how much the
band’s sound changed, simply due to the sound production, but even so, they may
find something to enjoy here. Along with that, followers of unkind and muddy
metal are recommended to this very solid record. Top it all off with some
gruesomely breathtaking artwork, and you have yourself a fine piece of metal.
Score: 8/10 (Great)