Consuming the Tangible

From October 24, 2023

Three years. I’ve been waiting three years for something new from Howling Giant, the Nashville power trio trafficking in hard rock that stretches into desert, stoner, and progressive territories. For three years I’ve played their debut The Space Between Worlds and – even more – their split with Sergeant Thunderhoof until the grooves wore out (because of course I have them on vinyl). Three years I’ve waited, biding my time with their lockdown instrumental jams, but now my wait is over. The future is here: Glass Future to be precise, and it’s cut in just such a way to completely win me over.

Put on your hip waders – bias ahead.

Read the rest over at Nine Circles.

After discovering the band on 2020’s stellar split with Sergeant Thunderhoof, Glass Future was the first “new” album from Howling Giant I was on board for from the get go. The 1-2 punch of the Twilight Zone-sampled intro of “Hourglass” leading directly into the supremely catchy and melodic “Siren Song” confirmed the wait was worth it, and coming back to it now, the album feels like a worn, comfortable glove. The tapped solo on the outro of “Siren Song” is joyous, and the way the band (even better now expanded to a four-piece) harmonizes on those vocals are gorgeous.

I remember when I got the promo being disappointed in the mix, but I think that was due to the compression of the files. When I finally got the vinyl, songs like the solemn “Aluminium Crown” and majesty pace of “Tempest, And the Liar’s Gateway” lost their murkiness and opened up, allowing the space and air in Zach Wheeler’s drums to really drive the riffage of Tom Polzine throughout Glass Future’s runtime.

About the only reason it hasn’t gotten more play recently is because of this thing. Nothing like a great new album to make you forget about the old one.