Cult of Wuotan

Theudho are from Flanders in Belgium, and this is the band’s third full-length release, following 2006’s The Völsunga Saga. It’s also the band’s debut for leading pagan metal label Det Germanske Folket. Theudho was originally a solo project of rhythm guitarist and vocalist Jurgen, but it has developed into a four-piece band, with two guitarists producing twin leads very much in the classic Iron Maiden / Judas Priest tradition.


As the title would suggest, Cult Of Wuotan is inspired by Germanic heathenism, which is hardly unusual for this kind of black-tinged pagan metal. However, Theudho are slightly distinctive, in that they look to continental Europe rather than the Scandinavian peninsula for their inspiration, so that there are songs here, for example, about Charlemagne’s suppression of heathenism and Germanic tribes battling the Romans – which was something the Vikings never had to worry about. Hence also the invocation of ‘Wuotan’ rather than Odin.


The first thing to note about Cult Of Wuotan is the excellent cover art by renowned Swedish artist Kris Verwimp, who also did the cover for Theudho’s previous album, and who’s noted for his artwork for Absu, Marduk and Månegarm, amongst many others. His impressive vision of Wuotan enthroned in the sky above a forested landscape, attended by his companion wolves and ravens, promises some epic bombast, and this Theudho certainly deliver. Synths play a crucial role in developing the grandiose atmospheres of the album, and there are also female vocals courtesy of guest vocalist Claudia, as well as spoken narration from George, another guest contributor. The album opens with ‘Zeitenwende’, a melodic synth intro with narration from George, sounding very much like the prelude to a Conan-type epic fantasy. Theudho get down to business with ‘Terror Cimbricus’, a mid-paced rocker with solid double bass drumbeats, melodic guitar leads and keyboard flourishes. ‘The Fall Of Rome’ opens dramatically, with the sound of clashing swords, but soon settles into a predictable groove of twin guitars and keyboards. ‘Silence Reigned Over The Bog’, ‘Veleda’ and ‘Prophecies In Flames’ all feature Claudia’s vocals, and the latter has a Hammond organ sound to its keyboard lines, which is refreshingly different for this kind of metal. Closing track ‘Ergriffenheit’ is, like the opener ‘Zeitenwende’, an orchestral piece with spoken narration.


Theudho are evidently inspired by bands like Amon Amarth, Enslaved and Hammerheart-era Bathory, and their music is a finely modulated blend of melody and brutality – maybe even slightly too finely modulated. Theudho’s music is competent and polished, with plenty of variety in time signatures, but it lacks a certain ferocity and wildness. Theudho don’t use folk instruments like say, Månegram or Skyforger, relying instead on keyboards, like Thrudvangar or Himinbjørg. My favourite track overall is probably ‘Silence Reigned Over The Bog’, which has a forbidding, baleful darkness about it – I'd just prefer it without those tremolo guitar leads. Nevertheless, there’s plenty about this epic, atmospheric album for pagan metal fans to enjoy – just don’t be expecting raw black metal, because it’s not like that.


This review was originally written for Judas Kiss webzine:
www.judaskissmagazine.co.uk