Wolf

The turn of the new millennium was great for classic heavy metal. For one thing, 80’s bands ditched their experimental albums and increased the amount of effort put in their new ones resulting in some great comebacks (Saxon is a great example), Iron Maiden reunited with Dickinson and Smith, and a batch of new metal bands bet on the classic sound and doubled down on their intentions to provide a much needed generational shift. Wolf was one of the first bands from that batch to release a full length, the self-titled debut, in 2000.

As a debut album, this record is pretty basic. Wolf will be latter known for their dark sound and themes, but for the debut the music is easily described as Iron Maiden on steroids. This is pretty much showed off on the first track, which can be described as a faster and more furious version of Aces High. The band doesn’t play as fast to be placed nowhere near the speed metal label, but they don’t lack the power nor the speed either. Their sound is pretty condensed and consistent, with the voice of Niklas Stålvind tying it all together. Speaking of their vocalist, he is the one that may make or break the record, his nasal voice is pretty characteristic, and maybe does not fit the sound of the music of this album like in posterior records, therefore I will not condemn anyone that may be not enjoy this album because of it.

The album does not lack variety at all, even though every song is very energetic, the band does show that they are not a one-trick pony, not in the slightest. Whilst the first song is conceived as a total banger with the mission of getting you hooked on the record, posterior songs are more inclined to convey different emotions, ranging between more epic songs (Moonlight, The Voyage, or In the Eyes of the Sun, for example) and songs with a hint of exoticism placed in them. In the latter group there is Electric Raga, a song that reeks of oriental sound and philosophy, and one of my personal favorites. If that is what you are looking for, you will be pleasantly surprised. If, on the other hand, you like more all-rounder songs, fear not, the album has a couple of them which should be present in every set list. Aside from the opener, I would also praise The Sentinel, a pretty good, fast song with an excellent chorus and instrumental section. The highlight of the album without question, although like I said it may be a little bit basic for its own good.

In general, I must admit this album pales in comparison with some of the later releases. I just appreciate this album in the context it was released, I just admire the importance it had on the classic metal renaissance. However, if only for the few very good songs that there are, I would recommend at the very least some plays, you are not to be disappointed and maybe there will be some songs that will be stuck on you.

Technically, I've a shit ton of potential write-ups to plunk down, and while most, under normal circumstances, take precedent or priority over Wolf's titular full-length debut from 1999, can't help running the gauntlet in Örebro quartet's regard considering said Swedish powerhouse envisages, sometime during Ides of March, the official release of its eighth album proper, auspiciously titled Feeding The Machine. In essence, these are definitely not normal circumstances, but rather, the best friggin' news to rock my bulletin board since catching riden wind of fellow country men Ambush's rapidly approaching, if not rabidly anticipated, third complete effort also due, conjunctively, on the 13th! (Circle such on your calendar!)

So, until that fateful, howling day - hopefully, of the full moon - shall wax scruffy and amiable (like the cover's randy specimen) on "Wolf" proper, comprised as it is of nine sophomoric and rough, yet riff-worthy/solo-strewn, originals ranging from token brief introduction "In the Shadow of Steel" to relatively long-winded finale "In The Eyes of the Sun"...out of the frying pan and into the fire, so to freak! Between the two, Prosthetic Records duly lodged its silver bullet in the bone without realizing how fiery and ferocious an authoritative trad metal juggernaut (as in "supernaut" or "chrononaut") its nascent, on-the-rise Scandi"knave"-ian protege would soon (r)evolve into.

Not until secondary guitarists Johan "Blade" Bülow and Johannes Axeman successively ran with the pack at the advent of Black Wings and Flame, in 2002 and 6, did Wolf entail a twin-axed quartet good n' proper; on both Wolf and 2004's killer Evil Star, the outfit, while only slightly worse for wear, was held to a trio, consisting of, in this here cryptically rooted incarnation, long-standing (as well as present-day) frontman/six string-er Niklas "Viper" Stålvind (ne Olsson) - who mystically plucks a sitar throughout the tribally Eastern sounding "Electric Raga" as well as bass-heavy and queerly instrumentalized "243" - with Mikael Goding on bass and Daniel Bergkvist on drums. A fair complement of metallers, as attested by recording's solidly gained and upright, level-headed draftiness which, granted, doesn't quite attain the stratospherically ripping leads eventually demarcating Wolf's indelible hallmark. This stellar, one-of-a-kind asset is evident on further sundries: Evil Star's long-winded but utterly wound "American Storm", The Black Flame's chthonic-as-fuck "Demon", and, particularly, a true crowd pleaser in Legions of Bastards' fulminating "Skull Crusher" - my pointedly excitable and convincing, first (dangerous) meeting with the band.

Regardless, Wolf's "secret sauce" is readily basted on the listener in the midst of kick-ass head-banging chair toppling highlights such as high pressurized, churning night howl, "Moonlight" - where Stålvind's rampantly mellifluous shredding attack takes fully fanciful flight prior to quick, terminable return to forlorn form - alongside following, despondently crooned, yet no less harmonized and syncopated, "The Parasite" - on which his halting breathlessness evokes the likes of early Steelwing or So Far, So Good, So What?! Megadeth - and, also speed metal quip titled "The Voyage", for all intents and lost purposes, a potential Black Wings codpiece left out to bake in the Sun. Top sup, "The Sentinel", alongside quasi-progressive albeit downright axe-crazy, spicy outlier "Desert Caravan", showcase "Viper"'s tightest chanting thus far, not to mention sheer, paradoxically soothing ear-rape of a frothing, hopscotching guitar riff/bass line sure to pasteurize your kiln, some.

Again, whereas Wolf's soloing prowess masterfully picks up in traction, impetus and fervor with the advent of an egregiously faster, not to mention mondo Judas Priest/Merciful Fate-like, Black Wings (think "Venom" - what a track!), for his first foray, and, keeping in mind his dual role'd single-handedness, Stalvind manages quite proficiently. Overall, the rhythm section, while nothing too extraordinary, rolls with the kicks and punches as astutely as any well-heeled sycophant. In other words, if this forty minute juvenile Wolf impresses, even minutely, I envy those lucky "dogs" who've yet to scour its competitive and reasonably lengthy discography, as sheer joy of discovery is theirs to behold!

Back to the matter at paw, even Wolf's weaker offering, the close-to-eight minute long, funky, slapdash and utterly byzantine endgame, "In the Eyes of the Sun", occupies a congruously unobtrusive berth amongst its svelte comrades. At this point, too, Stålvind's nasally expunged choral croons fling me back, or forward, dependent of perspective, to Legions of Bastards's stellar "Hope to Die" - nominally, its winsome, uber-catchy refrain where we're entreated to "let the gang in on our secret(s), as they're (just) dying to find out!". Granted, Wolf's much tread seven works are pretty well behind me, now. (All the more reason to sit and rock tight 'til its our turn to "feed the machine".)

Sometimes bands have a couple of different distinct sounds throughout their career. Wolf certainly divide into at least two sounds: their high-energy speed metal phase; their more classic heavy metal phase; finally, they are edging towards a more modern sound, which is still rooted in speed and classic sounds. I think that they sounded absolutely immense in that middle period and 'Evil Star' and 'The Black Flame' are downright incredible albums, yet there's something undeniably appealing about their more primitive roots. I say more primitive, because this self-titled debut looks and sounds a little rough, right from the strangely camp-looking wolf on the cover to the must-go-faster nature of the riffs and melodies on offer. There isn't a great deal in the way of finesse, then, but there is a more vital spirit to this album than some of the releases that came later and, for pure energy, 'Wolf' is a winner.

I've always thought that the word "athletic" described this album down to a tee, because, in the same way that Iron Maiden's 'Phantom of the Opera' was perfect for the Lucozade advert with all the athletes, the entirety of this album goes along at a jogging, jumping, or sprinting pace. I'm trying to think of something that happens at slow or mid-pace, and I'm only coming up with the closing notes of 'In the Eyes of the Sun'. It's all frantic and scrambling, with no let up from any of the instruments, whether that be the pounding drums (originality isn't too hot on this front), the limber, always audible, bass that runs around everything, or the compulsive speed riffing of the guitars. This athlete isn't just fast either, but strong too, with a big meaty tone for the riffs that has a lot of bite (they are called Wolf, after all) and no hint of thinness nor grooviness.

There are many parts of this album that have been lifted from other classic bands, though Wolf never sound like merely the sum of their influences. We are always in the ballpark of early Iron Maiden, classic speed metal like Running Wild, and maybe there's a hint of Mercyful Fate that the band would later explore further. However, there is sitar that crops up on 'Electric Raga', a stadium power metal "woah" bridge on 'Desert Caravan' and 'In the Shadow of Steel' is the kind of genius calling card that every great band needs. I think the best songs are certainly 'Desert Caravan', 'Moonlight', and the opener, though there are special moments in each song, perhaps barring the lacklustre instrumental '243'. For example, 'The Sentinel' has a riff (if you listen, you'll know which one) that will never let you rest again as long as you keep humming it; the closer has hints of grandeur and storytelling that departs from the simpler structures of the rest of the album; 'The Voyage' has a rather generic riff, but the closing shriek of "The sea calls out my name" is absolutely electric.

The themes on this album actually interest me more than many of the lyrics that Niklas Stalvind would later write. Many of the songs deal with journeys: we have two about sea voyages, two about deserts, and one about Don Quixote, plus a couple of more expected subjects, giving the album as a whole a great energy that really suits the riffs and pace. The vocals are not quite honed to the point that they would achieve after a couple more albums, though I don't mind the roughness of them, because there is a definite sense of effort and desperation flung into every word that means I usually overlook a missed note here or there. There's a sense of drama, a feverish excitement, that I would take over pitch perfection every day.

Wolf would mature and expand their sound over the years, but for sheer energy and exhilarating speed, this has not been matched by many. Maiden on amphetamines.

For those who don't know, lasagna is a kind of pasta pie thing that looks disgusting and regurgitated, but it tastes like a slice of holy heaven, and that is what Wolf's self titled debut reminds me off. It looks like shit (most hilariously bad album cover I've ever seen coupled entirely unoriginal and generic name and sound), but tastes fantastic (the music is incredibly fun, fast paced, solid old school heavy fucking metal).

There, now that my contractual food reference is out of the way, allow me to continue with my musical analysis. As stated, Wolf's brand of heavy metal is... well, like a store brand. If Iron Maiden, Judas Priest, Jag Panzer and the like are the Cokes and Pepsis of the style, then Wolf is like the Sam's Choice or the Tab. There is nothing here you haven't heard a thousand times before a thousand times better, but one can hear the conviction and passion in their riffs, which is more important than anything else. Imagine, the most innovative, creative, unique piece of music in the existence of humankind is performed by a bunch of scholars who have practiced to the point that they could play in their sleep, and execute the piece flawlessly in a nearly mechanically precise way. Immediately afterwards, Iron Maiden Clone #8675309, comprised of four or five eccentric looking young adults, sloppily plays their song, with a performance that exudes energy and passion. At this point, your are forced to make the choice of which one was more entertaining and what you'd rather see for the rest of eternity. I don't know about you, but I'll take the fools in spandex jumping around like chimpanzees on angel dust over the scholarly robots every single time.

That rather lengthy hypothetical was just my way of saying that while Wolf brings nothing new to the table, they are an enjoyable treat for any fan of the traditional heavy metal style. These guys sound like they worship Omen's Battle Cry, and that's about just as good an album as any to worship, and they do their worship relatively well. The riffs and leads manage to sound fresh even after the many recyclings they have undoubtedly gone through before the time of this album. Most of the songs are about the same pace and tempo, with the difference between the fastest and slowest songs being maybe only 20 or 30 bpm. So there isn't too much variation between tracks, but the variety in song structure will keep one interested throughout the duration. The minuscule difference between tracks and riffs that just scream deja vu don't seem like as big of problems as they actually are if you allow yourself to get sucked into the music.

There is one point of contention that really grates on my balls that I must address, and that is this vocalist. He is crappy... really crappy, he is the crappiest muffin (first person to identify the reference gets an internetical cookie). Remember how I said the vocalist for Icarus Witch sounded like a sedated Geddy Lee? Well now imagine a really tired and unconvinced Geddy Lee. All the passion championing I do when it comes to this band is almost always circumvented by this idiot. He sounds bored, like he just read the lyrics on the day he was to record his tracks, and he absolutely hated them. He's just there to fill the void of a frontman, the band needs a face and a voice, so they apparently just went with the first guy they saw who had long hair. I seriously can't see this guy being the best they could find. His voice lacks any sort of power... no vibrato, weak delivery, and just generally sounds like a really bored Joey Belladonna. The final seconds of Moonlight is a great example. The vocal line ascends to a point where he can't reach the note, and instead of just singing that particular portion in a lower octave or writing a melody that he could sing, he strains really hard to hit the note, and still ends up wailing about three or four whole tones flat, resulting in a hilariously embarrassing Kiske imitation. The fact that he plays guitar at the same time is no excuse, either give up guitar and vastly improve your vocal capabilities, or find a guy that doesn't smoke turds.

It's difficult to speak at great length about the instrumental aspects of Wolf. They are competent and ferocious, yet unoriginal, and I find it hard to explain it any further. Most riffs reek of Battle Cry or Powerslave and the drums utilize a grand total of four or five different beats, each one sounding like a master track from Iron Maiden's debut. And despite all this, it doesn't seem stale unless you want it to. Even though this is a hideously flawed record, it stands as an everlasting testament to why metal has endured as long as it has and why it won't die any time soon. While metal is still a young genre, it sometimes seems as if it expanded too quickly, and all of the ideas were used up in a mere 20 years. 38 years after Sabbath's debut, we are still treading new ground, but many of the paths are beaten and worn. Metallica has even set up a few rest stops along a few paths. But as Wolf tread the path that was taken many years ago by exponentially more talented groups, they still manage to deliver a solid dose of old school heavy metal. This is fun in moderation, but shouldn't be abused, lest it grow stale much faster than desired.

Wolf plays heavy metal. Plain and simple. The band doesn't do anything to make the genre anything more than it already was.

But what it already was... was awesome. And these guys uphold that glorious reputation.

First thing I'd like to point out is that amazing guitar tone. I've never heard anything quite like that. Incredibly thick and meaty, but not at all muddy. Drenched in distortion, but each note is crystal clear. Honestly, this is darn near perfect in sound. The next point that instantly stands out is Niklas's voice. There's an odd quality about it, not totally unlike Rush's Geddy Lee. Also like Lee, Niklas sings in a range higher than many would consider "manly," but he has an aggressive enough delivery (while still sounding completely clean, somehow) to not make the listener question the presence of their testicles.

So what about the actual music? ...Have I mentioned these guys love heavy metal? The riffs would not sound out of place on a Judas Priest or Iron Maiden album, and the drumming keeps things at an energy very familiar to those bands. That said, Wolf is not just one of countless "Maiden rip-offs" running around out there. I said the riffs would not sound out of place on those albums... not that they came from those albums. The songs here don't go below mid-paced tempos, and usually sit around in the "full speed ahead!" category. So, you know, no ballads. Nope, not even one. WE DON'T NEED NO STINKIN' BALLADS!

"In The Shadow Of Steel" kicks the album off to a rip-roaring start, immediately bludgeoning the listener with that awesome guitar tone and an intricate riff. And it's a song about Don Quixote. Okay, that's awesome. Seriously. Unlike many songs about classic literature (Rime of the Ancient Mariner and especially The Odyssey leap to mind), ITSOS is actually a very short song. Too short, I'd argue, considering the awesome foundation they had here. Oh well... better too short and be left wanting more than too long and wanting it to end. And besides, it was only the first track. We've still got the rest of the album! And "Moonlight" keeps the energy going, and features one of the catchiest choruses on the album. By now, the listener should definitely be noticing the suitably dark atmosphere going on... Mercyful Fate would be proud.

The rest of the album continues on rather consistently, though I have to give special mention to "Desert Caravan" and "The Sentinel" (not a Judas Priest cover). The former takes the isolation of traveling through the desert, and injects it with a healthy dose of Highway Star. Also, you gotta love that break in the middle. "The Sentinel," meanwhile, mirrors Moonlight in having a downright catchy chorus. This is basically a power metal song with balls, not unlike a style utilized by a certain collective who seem to favor women made of a ferrous metal. Or medieval torture devices. Whichever. But it's not exactly Maiden worship, despite some flavorful similarities. If anything, it's more of a Running Wild-type song.

If there's one disappointing track on here, it'd be "In the Eyes of the Sun." If this song was not primarily inspired by Powerslave's title track, I will eat my laptop. The only problem is that Wolf decided to go for the "epic" track with this one, and you know what that means: either it's the audial incarnation of kick-assery, or it ends up overlong and boring. Fortunately, the guitarists here have a lot of energy and can write interesting riffs, because otherwise this song would be a waste of time. Now, it's just merely not quite up to par with the rest of the album. Also, "243" ain't exactly my thing, but I know a lot of people loved "Big 'Orra (Lossfer Words)," so take that as you will.

Overall, a fantastic debut from an incredibly solid band. If you're looking for some more old school heavy metal, Wolf is a great band to check out, and there's no better album to start with than this one. Don't be fooled by the legendarily bad album art!