HUNTSMEN is a metal band from Chicago, Illinois who appeared in the scene with their debut EP, 2014’s “Post-War.” Since then the band has released two more EPs and three full-length albums, of which “The Dry Land” being their newest. Their sound combines doom, sludge, and post-metal into a gripping formula, both arresting and imaginative. One minute it is heavier than all the world's dry land combined, the next it is soft and introspective. Despite not really knowing how each song, or the album as a whole, will play out, “The Dry Land” sounds like a cohesive element with each surprise being just another enjoyable moment rather than something to ruin the flow.

The vocal approach offers a lot of dynamics, featuring both male and female cleans among more extreme ones that approach every so often. There is a singer-songwriter/Americana feel to some of the songs but it works for rather than against their overall sound, particularly in “Lean Times.” The acoustic music is the perfect jumping board for Marc (or maybe Chris? I’m not sure) to dive into with his country style croon. The post elements build up with a slow rumble before fully embracing a doom/sludge oriented sound. Though the song is built upon layers, the bass and bluesy guitar solo really shine. “Rain,” although sounding much different from the previously mentioned song, offers up non-metal elements that work so well it’s impossible to imagine the song any other way. The lead guitar in the later moments of the song is beautiful in a way that only a band of this type can pull off.

The band is at their strongest when songs ebb and flow between clean and distorted elements equally, such as on “In Time, All Things.” Its first half is a stripped down, somewhat gentle display of their musical prowess that’s highlighted by Aimee’s ridiculously awesome vocals. It doesn’t take long for the song to go heavy with CULT OF LUNA vibes. From there the song builds upon itself, a massive swirling sound that washes over, under, and through the ears with abrasive textures that play out in a smooth flow. The opening song, “This, Our Gospel,” is another example of the album at its prime—towering, atmospheric, and as deep as a well. Chris and Gavin play their asses off, offering riffs that could move mountains and leads that move the heartstrings. Marc and Ray offer a seemingly laid back rhythm during the song’s clean portion but it’s rather intricate and keeps the song pushing ever forward.

“Cruelly Dawns,” has an odd feel/vibe to it that I can’t quite explain but that’s a compliment. The drums lend the song a high level of tension; the guitars and bass grab onto this and run with the feeling throughout the song until it ends in a frenzy. The vocal performance is top notch, some of the best vocal harmonies on the album. “The Herbsight,” is my favorite song on the album and offers a stupendous ending. It’s dark and brooding in the beginning but also a little dreamy/sleepy. The vocals echo very naturally off the music, while the bass and drums keep it all very heavily toned. The middle portion is arresting, the vocal harmonies and sweltering riffs turning the song into a brand new beast even as it leans into changing again after the bass drop around the 4:07 mark.

I haven’t heard a lot of truly unique albums this year but this "The Dry Land" is definitely one of them. On paper, it sounds like something that shouldn’t work but sure as hell does once that play button is pressed. This is a good release for headphone listening as well, so all the details can be fully captured.