It has been a long time coming. Sunderland’s Wodensthrone have been oft-touted as ‘ones to watch’ from the newest wave of English black metal yet despite a handful of well-regarded splits and some ferocious live performances, have taken their sweet time in delivering their first full-length. The band’s dedication to this record cannot be doubted – the six-piece actually took the time to fly out to deepest Romania to record at Negura Bunget’s home studio - and have clearly spent some considerable time honing this 70-minute plus opus to perfection. They certainly couldn't be accused of slacking in the three years since their inception. So, after all this, has it been worth the wait? I can tell you now that the answer is a most emphatic ‘yes’. And then some.
Wodensthrone plough with vigour the pastoral, epic furrow of black metal so beloved of the Eastern European devotees of the genre yet shoot this template through with their very own brand of righteous fury and desperate longing. The influences borne by the band are self-evident - Drudkh, Negura Bunget and ‘Anthems’-era Emperor being clear reference points - but it’s startling to hear the dexterity and confidence with which these Englishmen synthesise such elements into a coherent soundscape. The band aren’t setting out to reinvent the wheel here but what they are trying to achieve is to sweep the listener up into the kind of relentless, searing maelstrom unheard of since ‘In the Nightside Eclipse’ – and they may very well have done that. ‘Loss’s tracks are lengthy, winding, melodic and buoyed by rage and soaring dynamics. 'Frygenstream' draws us into a deceptively calm spell of nature ambiences and synth washes, overseen by some commanding utterences from vocalist Brunwulf before 'Leodum on Lande' explodes into life, setting the tone for the next hour-plus.
Every aspect of the sonic textures explored by Wodensthrone are spot-on - Hreowsian's drums are relentless, pummelling behind the waves of melody and providing much of the album's tangible aggression. The guitars of Wildebro and Raeldwah switch effortlessly between the scything, Hate Forest-inspired attack demonstrated in the opening few minutes of 'Black Moss' to the sorrow-laden reflection that bares out 'Upon These Stones', airy keyboards breathing soaring melody into every passage. Brunwulf's acidic yell is laced with sincerity and whilst his vocal approach may lack the variety to fully sustain some of the longer compositions, its palpable emotion is a key factor in ensuring that 'Loss' hits hard. Some might argue that Wodensthrone's refusal to mix up the pace is a drawback (the vast majority of 'Loss' is a frenzied blast or pounding 12/8 gallop) but to these ears, it further serves to lend the release a hypnotic power, one that draws the listener into a strident maelstrom of ancient pride. Closing track 'That Which is Now Forgotten - 597' is a distinct change in pace and tone, demonstrating a sense of hazy contemplation at stark contrast to the raw, angry passion that typifies the rest of the record. For those who sneer at the very mention of the concept of English black metal, this is a 'must hear' release - indeed, anyone with a passing interest in the epic side of black metal is urged to get hold of this album as soon as possible. A contender for 'greatest UKBM album recorded thus far'? Without a doubt.
http://www.myspace.com/wodensthrone
http://www.bindrunerecordings.com
