Wolforder

Aesthetically, Wolforder is an album I feel some stirring in my blood to fawn over. The grim, nebulous cover art contrasts beautifully with the Greeks' inspiring, sharp, wicked logo; both its title and lyrical focus of atavistic, predatory pride and valor seem memorable enough. Whilst I've ever been predisposed towards the more unique character of Hellenic acts like Rotting Christ or Necromantia, long have I searched for a band from this scene who could broach the European landscape with the broader, Norse or Swedish derived sounds we've long associated in the medium. When I look at Darkthule's sophomore, I think to myself 'this could be the one'. And then, when I listen to it, I realize how such hopes were but shallow and misplaced...

For once again, Darkthule have executed their music in as stylistically safe a means as possible. Nothing presented on this album stands out or beyond the myriad precedents that the black metal enthusiast has experienced for 15 years before it. That in of itself would not be reason enough to scoff at its existence, but then the responsibility lies on the artist to carve out some quality riffing and memorable structure, which the Greeks do not here. Considering that the framework of Transilvanian Hunger, Det Som Engang Var and De Mysteriis dom Sathanas have provided all the necessary fundamentals, bands like Darkthule have all the tools with which to build upon. Instead, most of the album blasts along with unmemorable, garden variety guitar passages like those of "The Return and the Reborn of the Immortals", "The Day That We Will Return", "W.A.R." and so forth. Trite blasting with little variation, the one weapon being employed across the somber din of airy aggression being the slightly more filthy approach taken by the vocals.

Wolforder does possess a handful of slower fare ("Bloodshed for Victory", a few breakdowns in the other songs), but it takes practically 20-25 minutes for this to manifest, and in the meantime the riffs are just not strong enough to carry forth the same terrifying inspiration as the band's forebears were able to manage 10-15 years before. I've got no problem with the band's crude sense of production, in fact I revel in the form, but when the standout track on an album is a cover of one of the most obvious influences (Burzum's "Lost Wisdom"), it's hard not to feel as if the whole package represents another would-be lurking in the shadows, afraid to step one talon beyond the predetermined. The tinny if focused drums are no more than average, the bass never a factor, the guitars repetitious and lacking the captivation necessary to carry the force of the writing, and Wolforder ends up where Beyond the Endless Horizons left off: in a withering tempest of indistinction.

-autothrall
http://www.fromthedustreturned.com

Darkthule return to our windows media players with their second offering, 'Wolforder'. The problem with the debut record still persists it would seem. The short nature of this record isn't as big a problem as it was with the debut, thankfully. We're given longer tracks and a longer record on the whole, which is nice of them.


When it came to the debut, I needed more time to make up my mind. Perhaps another song or two, which had have to have been longer, would have sufficed. I needed more input from Darkthule, but of course, I was never given that. The audience is introduced to Darkthule with another brief outing. 'Wolforder' is a lot like the debut, as i've probably stated already. The percussion has remained largely the same, with a little difference here or there. It's disappointing from Darkthule. If Moros isn't comfortable enough on percussion, get someone else in who is. His sheer lack of willingness to drive Darkthule forward is obvious. The percussion is so damn derivative. It's lost in an age where blast beat after blast beat would have been acceptable. Heck, it still might be if Darkthule offered to change it once in a while. But no. 'Wolforder' is a primitive second helping. The double bass just doesn't cut it anymore. It's boring and tedious. As an audience, we need to be excited. Darkthule do that when it comes to melodic riffs, but not percussion. The only change in style is when the cymbal is hit, every now and then. It's just not enough to satisfy the needs and wants.


As I said, the strong point of Darkthule is the guitars. The bass is ineffective as it cannot be heard for the duration of 'Wolforder'. The riffs create solid melodic sounds, which carve out an atmosphere amongst the lacklustre percussion and odd vocals. Speaking of the vocals, why have they changed? They were fine as they were. Instead of powerful rasping vocals, they're now more like whispers or the sound of Marge Simpson from a very famous television show. They're poor, nevertheless. The production is also quite restrictive, had it been cleaner perhaps the instruments and vocals may have made a better impression. The vocals though, my god. They have no impact, they have no nothing. Again, content to exist with that horrendous offering on drums. The audience won't be excited for long by those fairly enjoyable riffs. I myself have never really liked any Greek bands. I find their scene a little lacking behind the rest and Darkthule doesn't serve to prove me wrong. Instead, they fuel my desire never to look into the Greek scene again!