Album Review - Shovel Monster 'Shane' - Brutal stuff from Arizona

Phase B Records | 2025

'Shane' is Shovel Monster's most focused statement yet—11 tracks that strip away any pretense and deliver pure groove metal aggression. The band's evolution from their 2024 effort 'HTK' is immediately apparent: where that album hinted at potential, 'Shane' delivers with conviction. Guest spots from Encircled Throne, Greg Haran IV, Randall Hammer, and Matthew Rasmussen don't feel like afterthoughts—they're integral to the album's crushing momentum.

The production here finally matches Shovel Monster's ambitions. Every guitar tone cuts through with surgical precision while maintaining that essential low-end heft. The rhythm section locks in tight—those tom fills hit like concrete blocks, and the bass doesn't just follow the guitars; it drives them forward. What strikes me most is how clear everything remains despite the sheer weight. You can actually hear individual notes in the most chaotic passages, something 'HTK' struggled with.

The grooves absolutely destroy. These aren't your typical chug-fest riffs—there's genuine swing in tracks like "Lucid Dream," where the main riff shifts between 4/4 and a feel that keeps you guessing. It's catchy as hell but never dumbed down. Don't take our word for it .. listen for yourself.

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Here's where the band really nailed it: the album sounds polished without being sterile. The vocal production especially benefits—there's enough reverb to give the growls space but they still feel immediate and aggressive. You can hear the strain in the delivery, which adds authenticity that overly processed vocals often lack.

Technically, this is their strongest showing. The guitar work weaves between palm-muted chugs and more intricate fast passages without losing the groove. "I AM THE ONE" - Pure mosh pit fuel, with it's subtle bass movement underneath that makes it stick.. these tunes rock hard.

"Lucid Dream" opens with a deceptively simple riff that gradually builds layers—additional guitars, subtle percussion elements, backing vocals—until it becomes this unstoppable force. "I AM THE ONE" is more direct in its assault, built around a central riff that's both memorable and punishing. "The Voices" showcases their dynamic range, alternating between more technical passages and full-throated roars.

What makes these tracks work isn't just their heaviness—it's their restraint. Each song knows when to pull back and when to unleash hell.

This completely surpasses 'HTK' in terms of cohesion and songcraft. Where that album felt like a collection of ideas, 'Shane' flows as a complete statement. The collaborations enhance rather than distract—Greg Haran IV's contributions to the track 'Unwanted' add a different vocal texture that complements rather than competes with the main performance.

The rhythm section deserves particular credit. These aren't just support players—the bass lines are genuinely interesting, and the drum patterns vary enough to keep each track distinct while maintaining the album's overall groove.

Shovel Monster occupy interesting territory in the current groove metal landscape. They're heavier than Lamb of God's more recent output but more melodic than pure sludge acts like Crowbar. There are traces of Godflesh's industrial weight, particularly in the lower-register riffs, but with more traditional metal songwriting sensibilities.

Compared to their 2022 self-titled release, the evolution is stark. That album showed a band learning their identity; 'Shane' proves they've found it.

The band is currently seeking permanent members to complete their lineup, and honestly, that's exciting. What they've accomplished as a partial unit suggests that a full, stable lineup could push them to even greater heights. There's a hunger and certainly riffs here that suggests they're nowhere near their ceiling.

For anyone craving groove-heavy metal that doesn't sacrifice intelligence for brutality, 'Shane' delivers consistently across its 30-minute runtime. It's not revolutionary, but but we absolutely love it and it's exceptionally well-executed—and sometimes that's exactly what you need.