The last Gates album, Hymns Of Blood And Thunder was an absolute masterpiece; but if you were expecting a re-run of that album with The Wretch then you’re going to be disappointed. When you’ve made an-honest-to-god classic album in a certain style then there’s little point, little creative endeavour in making the same thing again. The Gates Of Slumber have recognised this and hence called time on the glorious, heroic metal phase of their career. The Wretch sees them taking a step back to the crushing, spirit-breaking doom of their early days. That’s not to say they’re simply rehashing old ideas here. They’ve taken the bleak atmosphere and crawling pace of The Awakening... but added the dynamic song writing skills they have learned over the intervening the years.
There’s a new man behind the kit for this album – J. Clyde Paradis, King Klyde to his friends – and his measured, understated power has been credited by the band with this return to the doom drenched days of yore. Karl Simon’s confidence in his own abilities as a vocalist and guitarist seem to have continued to flourish and The Wretch features some of his most accomplished performances to date in both departments. With no layering of backing guitar tracks the Iommi influenced solos are left to stand or fall on their own merits with no place to hide in the mix – and without exception they stand proud. Completing this most powerful of power trios is of course Jason McCash and his inimitable bass work is clearer and more defined than ever before and is given a more prominent role in all the songs. Which brings us to the songs – and The Wretch has more than its fair share of superb songs. They’re not as immediate as those on Hymns Of Blood And Thunder, they reveal their charms a little more reluctantly, but believe me eventually they grow on you like moss on a gravestone.
For me the absolute highlight has to be ‘Castle Of The Devil’ which is utterly haunting. This piece of brilliance grows from a quiet introduction swathed in a cloak of mournful atmosphere to anguished thunder via some grooving, blues tinged bass and guitar interplay reminiscent of Sabbath’s ‘The Warning’. Another personal favourite is ‘Coven Of Cain’ which opens with a great rolling, up-tempo riff and features one of Karl’s best solos. Then there’s the throbbing dark despondency of the title track, the sheer lead weight riff-fest of ‘The Scovrge Of Drvnkeness’ and...well, you can find the rest out for yourself. Just be prepared to give The Wretch a little more time than was required with Hymns... or Conqueror and there’s a great album waiting for you.
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