Loss

There is something brewing in Britain, whether it has to do with the overcast, rainy climate or the wide, hilly landscapes or the rich history, the fact is that in recent years, one fantastic band after the other from the black metal underground will emerge: Fen, Winterfylleth, Altar Of Plagues, and from a slightly different angle, A Forest Of Stars. What these bands have in common is that they avoid well-trodden paths and bring us into new uncharted lands. Wodensthrone fits clearly into that list - and even surpasses most of them. ''Loss'' appeared in 2009 and is a majestic and epic tale, and fully exciting by the dark folklore-influenced black metal which was hailed at the time. The band pays tribute to their land, their ancestors and their traditions, but with a modern sound. The deities that accompanied them for this project were those of Fen and Negura Bunget: the inspiration from Fen gave them the ability to create a sound with a strong natural flavor, but avoid the rock and progressive elements while the inspiration from Negura Bunget gave them an aura that projected the harmony between the black metal sound and the folk elements.

The first track, "Fyrgenstréam", is a soft intro which hypnotizes you with words and makes you enter into this kind of trance, then comes the track "Leódum On Landes", which is more like the effect of this trance you just entered as it plunges you into a descent of bestial aggression and continues with fury. It is a fierce and epic song with the contribution of the keyboards, which are present but not too invasive here. The highlight, however, comes a little later with "Heófungtíd", which is just over eight minutes, but with an intensity that approaches the likes of Bathory and Falkenbach. Songs like ''Those That Crush the Roots of Blood'' and ''Upon These Stones'' create a very gloomy atmosphere where it is like you are in a desolate place of worship. This desolation is from the glacial effect played by the keyboards. Keyboards accompany virtually every guitar riff on the album and they are majestic lines of notes beautifully incorporated into their songs. ''Those That Crush the Roots of Blood'' is a fine interlude to the progressive and magnificent ''Black Moss''. Full of blast beats, chilling vocals and very doomy, this is exactly the right tone produced by the guitars; powerful and hypnotic.

Those who can empathize with Wodensthrone will not even notice the passage of time because the songs flow in a good manner. Still fascinating, it is like a seducing stranger coming from afar which is exactly what ''Pillar Of The Sun'' is. It is a song which has a very nice mix of folk influenced by Drudkh. Being an instrumental track, “Pillar Of The Sun” has it all; flutes, guitars, drums and even a Jew’s harp. This works together wonderfully and it is also undoubtedly an enjoyable piece of instrumental folk with a healthy portion of metal just like this whole experience with ''Loss''.

True black metal is all about atmosphere. Bands like Emperor, Mayhem and Summoning, have succeeded in creating their own musical soundscapes that pull the listener into a realm of darkness. This breathtaking debut from England's very own black metal entity, Wodensthrone, is probably one of the finest examples of atmospherics I have so far come across, for the pure reason that it is not just standard black metal. It is more than that: a journey into the forgotten cultures of the country, and they pull it off with such expertise that one cannot help feeling overwhelmed with emotion. The strings, the vocals and melodies, and the whole chaotic side of Loss is, in a word, jaw-dropping. I have a feeling that this album will cement Wodensthrone as the new face of English black metal. So what is it like inside the vast ruins and mournful halls of Loss?...

The foundation of Loss is mainly composed of its symphonic aspects. 'Leodum On Lande' is proof of this as it kicks in with haunting strings, bringing an 'ancient' feel to the song. Most of the tracks here are based around the orchestral elements, which suits the genre perfectly. The standout song here is 'Heofungtid' without a doubt as it showcases everything Wodensthrone are about, with an emotionally rich yet gloomy atmosphere. While most of the songs here are pretty grand and epic, some are as dark as music can get with 'Black Moss' as an example. Twisted, resonant discords aplenty as the song goes from an ominous storm of melody to a brooding clean section. There are actually many of these clean sections throughout the record, which comes as a nice change from the chaos.

When I say 'chaos', I don't mean pure brutality as that's not what Loss is about. While the drums are certainly pretty frantic for most of the album, they work perfectly with the captivating sound that Wodensthrone were aiming for. Some highly impressive double bass and blastbeats here, and it must be difficult to play so aggressively with the dreamy melodies. Proof enough that the musicians work well together. When hearing the vocals, I came to realise that although they are perfectly suited to the album there is something different about them. Frontman Brunwulf has the perfect tone on songs like 'Upon These Stones' and 'Heofungtid', but not just that: his wails of torment and anguish sound like the proverbial voice of history, crying out not to be forgotten. One can't help but think that this was the effect that they were aiming for, and it works with bleak potency.

The guitars here don't play much of a pivotal role, but they give the album its backbone. Some nice riffs throughout, but mainly they are kept as a sturdy method of giving the album that sense of heaviness. The riffs themselves are pretty basic, but Loss would be nothing without them.
Another incredible element of this record are the lyrics, which are mostly about the heritage of the ancient English people and how unforgiving the gods were. They are written with a poetic beauty which is unrivalled throughout most of the black metal scene, and the band have clearly done their research.

From every dark corner of Loss it weeps eerie, sorrowful melodies that are, at times, overwhelmingly intense. This is black metal on its top form but not only that, it is also the soundtrack to the tragic demise and mystery of the ancient English culture: a ghastly symphony in the distance getting further and further away. It is an album of gloomy castles and sunlit meadows, or in other words both bleak and uplifting.
A must have for any black metal fan but be wary: this is extremely harrowing stuff.

What a debut!

(Originally posted by me to the Metal Music Archives: http://www.metalmusicarchives.com/)

The winter of 2011-2012 was so fucking boring compared to the winters of past years. I had intended to use the scenic winter landscape to write several reviews for some winter themed metal albums and only got around to doing four since the snow barely stayed on the ground long enough to offer any scenic visual inspiration. So, it's sad to see the season come and go without leaving a lasting effect; but in its place, snowfall gives way to rainstorms, and there's definitely a few albums to be found and reviewed that are scenic like the rainstorm. Loss by Wodensthrone is one such album.

This rainstorm-like atmosphere on Loss is very reminiscent of Zîrnindu-să by Negura Bunget and was even recorded at Negura Studio with (former) NB frontman Huppogrammos present. With this musical shaman's blessing, Loss was given life in Romania where Negura Bunget drew inspiration from their region's spiritual heathen past. Wodensthrone also draws inspiration from their home country's pre-Christian roots, and there's such deepness to this ideology in regards to a more natural sounding landscape.

It is very rare that an intro track leaves a lasting impression on me, but damn! "Fyrgenstréam" is one of the best intro tracks I've ever heard! The calling of crows, whispering vocals, a somber sounding acoustic guitar line, layers of somber sounding keyboards as the vocals and guitars go on, all building on each other to provide a somber but incredibly epic atmosphere as the rainstorm approaches.

"Let me take upon myself this curse. Let my bloodline die with me. Let the great wind sing a lament to this land where nobility is no more."

After that, the storm kicks itself off with "Leódum on Lande"; and like a rainstorm, the music is dreary, yet purifying at the same time. The songs contain an even mix of fast blast beat/tremolo sections and slower paced sections. In songs like "Heófungtid", the music is played at a higher key, alleviating the dreary tone, yet maintaining the epic, purifying tone. At the heart of the aforementioned purifying tone is the keyboards and how well their master, Æðelwalh, utilizes them. The best part about them though is that, while they are prominent, they don't override the guitars in the album which are well produced and include bits of acoustic work involved.

It's like Drudkh meets Negura Bunget meets Wolves in the Throne Room. If you love any or all of those bands, you'll really want to look into Loss. At the same time, though, I've never felt like Wodensthrone were ever ripping on any of those bands. They've definitely got their own thing going on that makes this album totally enjoyable without making me think twice about it.

This reissue of British black metallers Wodensthrone debut album "Loss" has been timely in allowing me to finally hear a band on record I've seen around the London scene much in recent times. That it is also described as for fans of Negura Bunget, Drudkh and Wolves in the Throne Room...consider that I hardly needed asking twice.

Coming under the 'progressive pagan' branch of the diverse BM tree, Wodensthrone are a band moving forwards by solely looking backwards - their whole premise is built around ancient Britain and strong heathenish feelings set to a musical backdrop most closely recalling those three acts earlier mentioned, but one that sits nicely alongside equally promising rising Brits Winterfylleth and a shared vibe of side-stepping all the clichéd trappings of BM that effectively sum up the Scandinavian scene. As broodily atmospheric opening instrumental "Fyrgenstream" leads immediately into "Leodum On Lande" the sound of a band playing the music of their heart intent on forging their own path is so apparent you be forgiven for thinking this was an established act with years of experience behind them. The repetitive riffing structure that goes into making the long tracks found across "Loss" recalls Wolves in the Throne Room's mastery of the style, yet there are intricacies in the composition of "Upon These Stones" still only appearing to me numerous listens down the line. "Heofungtid" opens with flickers of Primordial's melodic grace about itself before certifiably the best riff of the album kicks the song into life while "Those That Crush the Roots of Blood", built around a template of powerful kick drums and abstract atmospherics sees the band at their most powerful and direct resulting in 10 minutes of blisteringly spiritual black metal.

That "Loss" was recorded in Romania under the nose of Negura Bunget is no surprise considering the depth of emotion and passion - beautifully constructed instrumental "Pillar Of The Sun" is not unlike the very finest of what NB nor fellow Eastern Europeans Drudkh can offer. In this, nor the toughened old-Enslaved feel of "Black Moss" have Wodensthrone broken any boundaries of complexity or technicality in this epic's construction, it is more that a meeting of the finest minds of soulful, earthy pagan BM have come together in the construction one of the best albums to be forged in the genre's individualistic cannon. Devoid of any Satanism or schlock theatrics one gets the feeling listening to "Loss", as they do with Negura Bunget's "Om", Drudkh's "Forgotten Legends" or WITTR's "Black Cascade", that this is the way BM was always meant to be - without the blastbeats or nihilistic elitism it feels the most honest and transcendental of the whole giant genre. A claim as audacious as the 'best British black metal album of all time' would be impossible to quantify but not out of the question for the effort of "Loss" is so mature and strong in every department it's greatness is already but confirmed and a testament to the spirited efforts of but a few on this fair isle.

Originally written for www.Rockfreaks.net

Bindrune Recordings is rapidly becoming one of my favorite small imprints in the US, with a taste for authenticity and innovation. We've already experienced Blood of the Black Owl and Celestiial, and now the debut full-length from the UK's pagan/folk/black stalwarts Wodensthrone, whom you may have already heard on last year's Over the Binding of the Waves split with Folkvang. Wodensthrone is not nearly as experimental as their labelmates, but Loss is nevertheless a 70 minute journey into the ancient British landscape that is sure to wet the palate of any folk metal fan of integrity.

That the album manages to be as epic as it is, without losing the grim taste of roots black metal, is a trait worthy of much praise. Throughout the playlength, acoustic interludes are well placed, the clean vocals and whispers make a nice addition to the standard rasp of the genre, and the consistency is difficult to deny. I found myself lost in the splendour and sadness of the album's driving, metallic fare like "Leodum On Lande", "Heofungtid", and the mighty "Upon These Stones", as well as the brilliant folkish "Pillar of the Sun". However, the true highlight/crushers of the album would be the lengthier pieces "Black Moss" and "Those That Crush the Roots of Blood", which never grow boring in the least.

This is a top notch production and one of the finer sounding black metal albums of the year. Its clarity and compulsion should appeal to the layman's sense of studio refinery without alienating the kvlt black fan. Wodensthrone are very effective at capturing a sense of sadness and longing for the past...after hearing this album, I wonder if the past few centuries of 'progress' in the world have even been worth it. Of course, we wouldn't have Wodensthrone in that case, but I can't argue that Europeans would be the stronger for embracing their core traditions and heritage as adamantly as other cultures. The existence of an album like Loss is the proof. While it falls just shy of perfection, this is a killer debut album and heralds only good things to come.

-autothrall
http://www.fromthedustreturned.com

Generally speaking, up until 2008 or so, I had no idea a resurgence was taking place in the British black metal scene. As far as I was aware, there were no more than a handful of bands contributing positively to the scene, but even then, that was only on a national level, not a global level. In terms of competing with our European neighbours, we were severely lagging behind. In a marathon race, amongst top competitors like France and Germany, we were merely sprinters who didn’t have the determination, reserves or stamina to come out on top during a gruelling race to the summit of the black metal leader board. An early bath for running for us Brits as we struggled to maintain the pace set down by our counterparts. We’ve lacked an edge over our competitors for a ridiculously long time but, in recent times, there has been a renewed sense of hope as the reinvigorated British scene, alongside the Republic of Ireland, has offered a spark of interest that would shake awake the fans on a global level. Not only does our more established side of the scene have a strong base to build upon, but the underground is home to an increasing number of potential hits; from the household names of Altar of Plagues, Fen and Lyrinx, to the lesser known brands that are steadily gaining recognition for their splendorous talents; Askival, Instinct, Niroth, Skaldic Curse, Winterfylleth and last but not least - Wodensthrone. Amongst these bands, there is a real sense of British history and pride as acts like Askival, Winterfylleth and even this band, Wodensthrone, dabble into the depths of the ancient British history and Anglo-Saxon heritage.

Though I’m not a nationalistic person and although I don’t really feel any sense of pride in being British, it does give me a sense of satisfaction whenever this isle of ours places a name into the hat for the draw of best band of the year. Thus far this year, Britain has unleashed several debuts that suggest this is an up-and-coming scene for fans outside of these famous isles to look out for. I know a number of fans have a hard time appreciating bands who’re heavily draped in their own flags, causing a sense of isolation between themselves and outsiders, and presenting their music as a form of political opinion but, once in a while, a band comes along that forces us into doing away with our beliefs like we’re taking out the rubbish. Bands like Wodensthrone, whose lyrical themes revolve around their own specified sense of heritage, fall into this category. Considering some of the British bands, like Winterfylleth and Wodensthrone, have shared musical talents, it isn’t a surprise that the lyrical patterns are similar to one another as each sets about depicting their ideal state for the nation to be in. Lyrically speaking, the words of Wodensthrone only have one appeal to me and that is due to the fact that they conjure up outstanding natural beauty in the visuals the intelligible lyrics inspire. Flowing streams, mountainous regions and untouched nature are presented alongside the fitting instrumentation which also conjures up vivid beauty in the aesthetics.

The feeling from the personalised lyrics of Wodensthrone isn’t one of racial hatred, but of returning to a peaceful wilderness that once surrounded the world’s landscapes before modernisation set in. The tranquility of these themes is shown also in the instrumentation which conjures up such astounding beauty through acoustics and synths as in songs such as ‘Heófungtid’. Even the artwork is inspiring the mind to visualise the most perfect natural settings that one could imagine that are not trashed by the destructive hand of man. There is however, a feeling of familiarity in Wodensthrone’s music that refutes the sense of individuality that was seemingly the case. I would consider ‘Loss’, the long awaited debut of Wodensthrone, to be a collaboration of sorts as it blends Eastern beauty with Western aggression. The textures of the songs remind me somewhat of bands like Drudkh and, to a lesser extent, Darkestrah. Clean, yet gritty passages that harmonise well with the beauty of the other aspects of the instrumentation. As with subtly melodic bands like Drudkh, Wodensthrone mask a lot of their melodious nature behind a rustic and vibrant aggression. Songs like ‘Black Moss’ begin with an aggressive texture, relying on typical methods to reach their goals - double bass, semblances of repetitive guitars and despondent vocals from a lead and backing vocalist, both of which sound different from one another.

Although they begin this way, as with bands like Drudkh, there are effluent passages of melody driven by clean sections of the instrumentation like the percussion, sparse acoustics and synths (which are particularly brilliant on songs like ‘Upon These Stones’ which has a lush natural vibe). Whether these synths are generated by the second guitarist or not, I do not know. I assume not as the band once had a musician who specialised in this area, so I assumed someone else carried this side of the music on without them. So, as stated previously, Wodensthrone succumb to Western methods as well as presenting a unified Eastern front with the obvious influences. Unfortunately for those who don’t enjoy Westernised bands like America’s Wolves in the Throne Room, you probably won’t enjoy Wodensthrone either as they sound partially similar to one another. However, whatever possible inspirations there might be, they’re blended in with an odd sense of individuality that isn’t expected with such influences, mixing with one another and taking away any impact influences from openly disliked bands like Wolves in the Throne Room might have upon their own music and fan base. I’ve heard a number of 2009 debut’s and been impressed by the state of black metal throughout the year and records like ‘Loss’ are the reason for the vibrant glow within the scene that has generated a lot of positivity from onlookers. Highlights include; ‘Heófungtid’, ‘Black Moss’ and ‘Upon These Stones’.

With a name like Wodensthrone, this band seems pretty determined to be Something Big and the album "Loss", despite the title, means Business. Each song (eight in all) gets an epic treatment of black metal mixed with elements of post-rock and prog-rock. The ambience is epic thanks to atmospheric synthesiser washes that soar heavenward in the background while the musicians play hard-hitting aggressive black metal. As the songs are usually long and densely packed mini-dramas, each with several riffs, changing rhythms and beats, and those constant keyboard tone washes, there's hardly much let-up in the ongoing stream of martial-sounding music so overall the album can be an exhausting experience. If there is a major criticism to be made here, it's that nearly every song has much the same full-on grand panoramic approach with similar sets of keyboard tones, riffs and rhythms that keep on changing and don't repeat throughout the song, and the same speed so that these elements tend to become cliches in themselves and the album on casual listening can sound like eight variations of the one song.

No particular track stands out. "Syrgenstream" has a long intro with spoken monologue and dramatic effects that almost becomes cringeworthy if played very loudly but then the music charges in and throws everything it's got at you: aggressive pummelling drums, raw guitars and beautiful ethereal synth tones that alternately interact with the guitar-work and float above the music. Vocals seem thin and brittle and don't come across as remarkable in any way: they deliver the lyrics when they can and that's about it really. Not much feeling or emotion at this point in the album. It's really only after halfway through the album that the songs start to perk up with more variation in the instrumentation and in the structuring of the music. "Black Moss" features dual vocals, some catchy tunes and an extended instrumental passage dominated by synths. "Upon these Stones" has some jagged riffing (which I would've liked to hear more of on this recording) and for once the singing becomes anguished. Folk-influenced melodies distinguish the intro to "Pillar of the Sun" which is otherwise a mostly acoustic celebratory piece. Outro track "That Which is Now Forgotten" has more of a post-rock influence with keyboards very prominent in the mix and an emotional range spanning melancholy, nostalgia, hope and optimism.

After hearing out this album a few times, the main problem (as I see it) with "Loss" is that the production doesn't really suit what I think is or should be the band's style and agenda of encouraging pride in its English heritage and ancient culture. I would have preferred a sharper and more raw production with more grit and less of that limited synthesiser-wash palette of sounds. It is very nice to hear those keyboard tones as an uplifiting contrast to the guitars and grim BM vocals but across eight long songs, those tones tend to blunt the aggression and fury of the guitars, and become schmaltzy and hackneyed. There are moments where the keyboards dominate the guitars (probably done for atmosphere) and become quite boring as the synths don't offer anything other than long tones. In a couple of songs in the second half of the album, especially in the last track where a choir of voices comes in, there are sections which to me seem commercial (in the sense that you and I have heard them hundreds of times before on mainstream pop and rock recordings and even advertisements) and not very original.

As it is, "Loss" is a good effort for a young band with majestic and sometimes exhilarating music but if the band can go for more of a rough-hewn approach and vary the music with definite and original melodies and riffs that are not so packed into each song (the paradox is that when each song has so many riffs and melodies, none of them becomes very distinctive, and so the songs tend to sound much alike), and with a greater range of effects, synth-generated or other, then future recordings will be much, much improved.

The musicians have plenty of energy and determination and play as a very tight unit. With songs that are a bit more spaced out with not so much happening within them, those assets the musicians have will shine through better and make more of an impression on listeners.