ALBUM REVIEW: All Hail The Yeti – Highway Crosses

Release Date: November 16th 2018
Label: Minus Head Records


‘Highway Crosses’ marks All Hail The Yeti‘s third studio record, and comes hot on the heels of their previous effort, ‘Screams From A Black Wilderness’. The outfit are known to combine a fusion of several different styles of alternative music, whether that be stoner metal, prog and even nu-metal into the mix, and this lends itself to an often interesting yet divisive sound.

While not necessarily threatening to break down the genre walls in the originality stakes, the band do contain enough diversity to keep you hooked on this record. ‘Live Everyday’ shows vocalist Connor Garritty in a very Ozzy Osbourne-esque light with a haunting and morose delivery overshadowing, giving it substantial heaviness throughout.

‘See You Never’ gives a sludgy outlook with a real lumbering chorus and Garritty‘s vocals ramp up the harshness, with the song diverting into a decent breakdown to highlight that diversity.

The instrumentation on the album’s title-track is pure classic rock ‘n’ roll nostalgia. The interplay between guitarist Alan Stokes and the rhythm section (bassist Nicholas Diltz and drummer Ryan Kittlitz) gives the song a massive amount of catchiness, with Garritty chanting “I can hear the demons coming” in random segments, before culminating in another thrilling breakdown.

The nostalgic effect continues on ‘Felo De Se’, with a chorus that wouldn’t sound out of place on an Iron Maiden record combined with some interesting King 810 style whispered vocals during the verses.

‘Highway Crosses’ does somewhat feel like a collection of songs rather than having a coherent flow of a full album, and this is shown by what follows those classic-sounding tracks; ferocious heaviness of the highest order.

Both ‘Withdrawal Delirium’ and ‘World Is Cold’ highlight some extremely heavy passages, with Garritty seemingly ripping his throat to shreds. The latter also includes a slight Southern vibe which gives it a very Pantera and Five Finger Death Punch feel.

The decent consistency continues towards the end of the album with ‘Necktie Party’, showing Garritty in full Max Cavalera mode with constant barking against a doomy guitar riff, while a return to Sabbath tendencies coupled with some excellently frenetic drum fills and sludge metal grooves on ‘The Nuclear Dust’ closes the record out superbly.

While not particularly branching out into new territories, ‘Highway Crosses’ displays another decent body of work for All Hail The Yeti referencing bands such as Toothgrinder, Five Finger Death Punch, and Mastodon in their all-encompassing approach.

If you’re interested in an amalgamation of progressive, doom, and nu-metal sub-genres – and the eclectic nature of this resultant sound – then you should invest some time in not only this album but also the band’s back-catalogue.