The Native Howl's third studio album, Sons of Destruction, which will be released on October 4, 2024, via Sumerian Records, is a bold, genre-bending journey that brings a unique fusion of thrash metal and bluegrass to life. This Detroit-based band has always pushed boundaries, and Sons of Destruction exemplifies their ability to blend aggressive riffs with Americana roots, creating a sound they’ve come to dub "thrash-grass." The album features guest appearances and genre-defying instrumentation, exploring heavy themes with relentless energy across its eleven tracks.
The album opens with the gritty track “Can’t Sleep,” a high-octane start that immediately pulls listeners into the band’s fast-paced world. With rapid banjo picking and thrash-inspired guitar riffs, the song is an intense experience that showcases The Native Howl’s unique sound. The second track, “Mercy,” featuring powerhouse vocalist Lzzy Hale of Halestorm, is a standout. Hale’s raw, dynamic, and always powerful voice adds depth to the track, her chemistry with the band bringing a layer of emotional resonance that’s both haunting and invigorating.
“BOG” and the album's title track, “Sons of Destruction,” continue the momentum with relentless speed and a blend of bluegrass melodies that merge seamlessly with thunderous metal guitar riffs. The band’s mastery over these contrasting styles is showcased in full force, and the result is endlessly thrilling.
The middle section of the album takes a darker, more introspective turn. “Waco” is a heavy-hitting piece with an ominous tone, exploring themes of cult mentality and tragedy. Meanwhile, the bass-driven track “No True Scotsman” brings a lyrical focus on integrity and authenticity, while offering up one of the band's fastest tracks on the entire album. The track does have a moment where listeners can take a breather from the track's ferventness.
The Native Howl finally slow things down on the immensely powerful track “In Death.” This powerful, heartfelt tune is a driving, cathartic track that delves into existential dread. The band captures a feeling of urgency and finality, underscored by fierce, yet slow banjo and guitar harmonies. “Stockholm Syndrome” follows, maintaining an intense tempo while weaving in reflective lyrics that consider the complexities of self-imposed constraints.
“Wide Is the River” is a highlight, capturing the sense of grandeur with a powerful blend of bluegrass and heavy metal. It feels almost anthemic, with sweeping choruses that elevate the album’s thematic core. As soon as "Wide Is the River" ends, it rushes right into the band’s ear-catching cover of Johnny Cash’s classic “God’s Gonna Cut You Down” and their cover is a fascinating reimagining, infusing it with thrash elements while maintaining the original’s foreboding feel. “God’s Gonna Cut You Down,” in particular, showcases The Native Howl’s knack for honouring the roots of a classic song while making it wholly unique to be their own.
The album comes to a close with “Devil I’ve Become,” a track that encapsulates the album’s fusion of ferocity and introspection. It’s a fitting conclusion to a record that is as thought-provoking as it is relentless, offering a final rush of intensity before the silence.
Overall, Sons of Destruction is a bold and inventive offering from The Native Howl, showcasing their talent for blending genres in a way that feels fresh and original. Fans of both bluegrass and metal will find much to appreciate, and the album is sure to gain them new followers intrigued by their unique “thrash-grass” sound. With hard-hitting lyrics, innovative compositions, and a fearless approach to genre fusion, Sons of Destruction stands as a testament to The Native Howl’s ever-evolving artistry.