Red Fang Songs Ranked

Red Fang is an American rock band from Portland, Oregon, formed in 2005. It is composed of guitarist and vocalist Bryan Giles, bassist and vocalist Aaron Beam, guitarist David Sullivan and drummer John Sherman. The band has released five studio albums: Red Fang (2009), Murder the Mountains (2011), Whales and Leeches (2013), Only Ghosts (2016), and Arrows (2021). Red Fang started out on Wantage USA Records in Montana, where the band released its self-titled LP. Red Fang’s 2009 debut for record label Sargent House/Wantage USA combined its first two releases, which were limited-release EPs. The band followed this debut with Murder the Mountains, released on Relapse Records in 2011 produced by Chris Funk. Red Fang also appeared on 2011’s Metalliance tour alongside the band’s Crowbar and Helmet; the same year, Red Fang opened the Jägermeister stage on 2011’s edition of the annual Rockstar Energy Drink Mayhem Festival which also featured headliners Megadeth, Godsmack, and Disturbed. Here are all of Red Fang’s songs ranked.

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10. Wires (Murder the Mountains, 2011)

“Wires,’ is a bouncy, simplistic good time rock and roll number with clean and melodic vocals reminiscent of QOTSA, at least until the atmospheric proggy build up in the middle, at which point things change once more into a grand and spacey direction reminiscent of modern Mastodon.”

9. Malverde (Murder the Mountains, 2011)

“Malverde,” could very well be an early Mastodon (or Baroness) b-side, as it mainly revolves around walls of sludgy, Sabbath-on-steroids-esque guitars, steady bass lines, dexterous, bouncy drum fills, and oh-so-Troy Sanders-ish vocals.”

8. Throw Up (Murder the Mountains, 2011)

“Throw Up,” takes the cake for being the set’s epic. Its ominously doomy and brooding bass intro flows perfectly into crunchy, driving guitar and bass riffs, thus creating doomy, meaty, and crunching piece of sludge metal. The tune also has a fast tempo change at around the three-minute-and-forty-second mark, thus taking it to up-tempo territory with brisk, chug and churn guitar leads and surprisingly deft and quick drumming”

Murder The Mountains (Deluxe Edition) | Red Fang

7. Dirt Wizard (Murder the Mountains, 2011)

“Dirt Wizard,” which has thundering, densely crunching guitars and noteworthy (and almost funky-sounding) bass lines coursing throughout.”

See more: Red Fang Albums Ranked

6. Crows in Swine (Whales and Leeches, 2013)

“Crows In Swine” is another standout because it boasts a strong, pronounced bass throb, some clattering cymbal crashes, pounding, rolling drum fills, and more really Mastodon-esque vocals and Black Sabbath-gone-haywire riffing.”

5. Cut It Short (Only Ghosts, 2016)

“It’s the driving energy and urgency of hook-filled bangers like ‘Flies’ and ‘Not For You’ that makes this memorable.”

Only Ghosts (Deluxe Version) - Album by Red Fang | Spotify

4. Hank Is Dead (Murder the Mountains, 2011)

“Hank Is Dead” continues in this same vein, as it finds a gluey, flowing, and propulsive bass groove underlying Sabbath-y sludge riffs, and churning, lumbering, pounding rhythms. (This tune is a highlight, though, for also featuring a bluesy, harmonic guitar solo, to boot.)”

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3. Blood Like Cream (Whales and Leeches, 2013)

“The music is kind of deceptively dense, due to its riffy nature, low vocals and raw earthy production, which may appear monotonous at first but can reveal hidden depths and great variety to those who persist, so its somewhat of a grower and may take a few listens to fully get into.”

2. Prehistoric Dog (Red Fang, 2009)

“The video for Prehistoric Dog is one of the best I’ve seen in many years. I really enjoy it, and have watched it at least a dozen times now. Great song, great band. I will try to see them on tour based on this song and video.”

Red Fang | Music fanart |

1. Number Thirteen (Murder the Mountains, 2011)

 “Number Thirteen” is another large standout track because it begins with some nicely melodic picking and ominously grumbling, grungy-sounding bass lines, before slamming into pure doom metal territory with brutal (yet oddly hummable), and towering doom-laden riffs and nifty bass fills.”