Legions of Bastards

One of the best features of the Encylopaedia Metallum, along with the reviews of course, is the similar artists component, allowing metal heads on a global scale to discover wicked bands they would have never heard of otherwise. Well, such is this case for me with Wolf, which is currently doing a fine job of keeping me sane in this mad World. Therefore, I'd like to extend my gratitude to all the reviewers out there who took the time to put the word out on this awesome Swedish traditional metal band. Right away, The Black Flame and Evil Star got me hooked but I must say Legions Of Bastards has thoroughly blown my socks off, of late. In regards to their sixth release, I apologize in advance for sounding like an overly excited little kid who just heard the chime of the ice cream truck rolling up the street.

There are so many great aspects to this band. Clear and concise vocals dripping with venom (the first two verses on the opener, "Vicious Companions" certainly attest to this) , ripping solos, addictive and catchy riffs, rounded off by plump, throbbing bass lines and methodical drumming which, combined with their classic occult-driven lyrics, compel me to stop passers-by in their tracks and holler at the top of my lungs: "WOLF! Ya Dig?!" before continuing on my way and leaving a trail of bewilderment in my wake.

It always amazes me when I hear songs like "Skull Crusher" (exhibiting the same power as Priest's "Painkiller") and "False Preacher" as I immediately ask myself: "Why has it taken me so long to discover these guys?! Where have I been all these years?". Both songs waste no time in grabbing the listener by the throat like a rabid wolf (pun intended) and shaking them to the core, still reeling by the time the next track comes on. "Skull Crusher" isn't that complicated: it features a slick sliding guitar riff with a couple variations throughout and a monstrous solo which has me whooping with delight, flagging down my compadres to make them hear it without any further delay. This is blue collar metal at its finest: "Everyday I work my fingers to the bone/ I'm a beast of burden so give me some heavy load/ Obsessive and compulsive head banging against a wall/ I won't give up without a fight before I fall". "False Preacher" seems to play on one of Wolf favorite themes, which is to expose phony and hypocritical religious figures as well as calling them on their shit. Again, the riffs here are catchy as hell and could that even be a bit of Dio-like chanting on behalf of Niklas Stalvind? One things is for sure: his compelling vocal style is right up there with Cauldron's Jason Decay and West Of Hell's Chris "The Heathen" Valagao.

One song that sort of sticks out like a sore thumb is "Jekyll & Hyde". It features a riff eerily reminiscent of Sabbath's "Zero The Hero" as well as an ultra-creepy antagonist who has no qualms about his vile practices: "All the girls from school always were so cruel/ Nothing like the ladies at the morgue/ Shall we do it in the coffin in the back of the church?/ I know you'll keep a secret and you won't say a word". Whoa!
I'm no wilting flower but this song is quite disturbing. My ears did a double take when I first heard it. Check out the chorus:

"No one knows me, I like to keep to myself
I've got hundreds of faces on the shelf".

Do I sense an Ed Gein reference there? Let's just say this song is the only one whose pace is more doom and gloom than the rest, right down to the schizoid whispering at the end.

Two songs which surely stick to the bands true colors are "Tales From The Crypt" and "Hope To Die". Stalvind is at the top of his game on the choruses to both these songs: "Tomorrow is just another word for misery/ Tales from the crypt (X2)" and "Let me in on your secret/ I am dying to find out". It might not look like much on paper but with these few words he establishes himself as one of the most addictive singers I've heard in a while. The latter is possibly the best track on the album as far as innovation goes, but it's hard to say (for some reason, I'm obsessed with "Skull Crusher" and "False Preacher"). The former commences with some eloquent European style lead playing before Stalvind's enchanting and gypsy like vocals lead the charge, accompanied by yet another catchy and swift guitar riff. Alternatively, the intros to "Nocturnal Rites" and "Road To Hell"'s are a bit raunchy at first but you soon get lost in the songs' intricate patterns, sky rocketing guitar solos and Stalvind's vocal prowess. Another memorable riff from Legions Of Bastards is the first one on "Absinthe". When those three crunching notes come around (sort of a stop-and-go motion) I just want to bang my head against the wall. The first time I heard it, my heart almost skipped a beat towards the end when they pause for a second before winding things down once and for all.

Johannes Axeman (fitting!) may not be a household name but he sure is a force to be reckoned with. On every one of Wolf's songs, he's able to add a touch of uniqueness to them and his passionately fierce guitar solos are truly spectacular. Wolf is one of those bands where you look at the song's timer, bracing yourself for the hair raising lead breaks lurking around the bend. Anders Modd's bass playing is well defined and clear and tends to stand out on the doomier numbers, such as "Full Moon Possession", "Jekyll & Hyde" and "Nocturnal Rites". Actually, the impression I get from "Full Moon Possession" is early 80's Trouble amped up on steroids, if you can imagine that. As for the drums (Richard Holmgren), they're not quite as tight as on The Black Flame but fit right in with the rest of the band, contributing to a smooth and solid production overall.

Obviously, Wolf draws elements from many old-school acts, the obvious being Maiden and Priest. They even remind me a little bit of Polish bands such as Crystal Viper and Chainsaw. Remember how the last song on a Maiden album was usually a cautionary tale based on history or mythology? Wolf incorporates a similar approach here with the album's closing number, "K-141 Kursk", about the Russian submarine which was bogged down in the bottom of the Barents sea a few years ago. I think it's great all those crewmen have finally been remembered and honored with this bang-on track.

Well, I wanted to give this a perfect score, but then, where would it end? I'd look like a total fanboy giving all their albums 100%. It's very hard to settle on a number when so many variables are at play. I tend to review albums by bands that blow me away so it's easy to get carried away and allow preconceptions to dictate ratings. It's possible the timing of my discovering Wolf (and in particular, Legions Of Bastards) was just what I needed at this point. For now, I'm proud to say this band keeps me in the comfort zone. I keep trying to get people to check these guys out but so far, only one friend has taken the time to do so (he approves!). I just hope more people get to see the light soon. WOLF!!!

I keep forgetting how cool Wolf are and wondering why I love them so much, then I put on an album and, within the first couple of bars, I've already smiled like an idiot and starting running round the room. That said, I think every Wolf album since 2005 has suffered from 2 problems: first, they all start off with the fastest, and usually the best, song; second, none of them are The Black Flame, which remains the band's greatest achievement and one of the most brilliant albums I own. Thus, as with 2008's Ravenous, I'm in two minds about Legions of Bastards. On the one hand, it makes me feel juvenile and excited because the songs generally kick arse and have great riffs, rhythms, solos, vocals - the works. I gave 'Hope To Die' (not the best track on the album, I feel, but the most instantly gratifying) to a friend who reviews for another website and he wasted no time in awarding the maximum score to the album, as well as acknowledging the debt that Wolf owe to Priest and Maiden. It's that kind of instinctive response that made me fall in love with this band. Yet, on the other hand, there are clear signs that Wolf's sound began to come undone just a little as they shifted from their initial hyperactive speed metal roots to a more modern style, including slower paces and guitars that sound like they may just be tuned down ever so slightly.

On Legions of Bastards, the athleticism that made the debut so electric and Ravenous compulsive in parts is almost completely absent, leaving the band to exploit the monstrous intent and bigger sound that can be pulled off only with supreme confidence. I would only pick out the opening 'Vicious Companions' as definitely being a fast track: the others are mostly mid-paced and, while almost universally well-written, do lack a certain something without anything more adrenalized to intervene. The structure of that fast song is also more exciting than the verse-chorus-verse template of the rest of the album. The song starts with a scrambling riff, chopped off by a wailing solo before it even becomes more than a rush of blood. Niklas Stålvind then spits out a verse with the utmost conviction and spite, a short lead break, then the next verse, and the refrain hits before the band settle into the only sprint of the album, which contains the same kind of speed metal riff that made 'Speed On' difficult to listen to on the bus (try it: you will look like an idiot), then another solo, more fleshed out and melodic this time; finally, the refrain comes back to close the song. As such, the opener hits like a ton of bricks but, by the time we reach the slightly more energetic 'Tales from the Crypt' halfway through the album, I'm dying for that burst of speed after several grooving and atmospheric songs.

I have to come down hard on a couple of songs. The first is one that I wish to expel completely from the album, namely 'Absinthe'. It doesn't have good riffs, just a low, grooving verse riff and a decent melodic fill (I can't really call it the chorus because there aren't any words in it): there's one stinking riff that sounds like something Pantera narrowly avoided, and even a cool lengthy lead section doesn't make the experience worthwhile. Then, there's 'Jekyll and Hyde', which I'm undecided about, since it seems a little long and repetitive, while 'Road to Hell' and 'False Preacher' are decent, but not essential. The band should have realised that they didn't quite have enough ideas to put 11 songs on an album that runs over 50 minutes and could easily cut one or two ('Absinthe' and 'Jekyll and Hyde' for me) without compromising the experience. That said, even the weaker songs have good parts, and I can't think of a poor lead on the whole album - indeed, the leads transform Legions of Bastards from a mediocre album with a few great songs into a decent album with a few brilliant songs.

'K-141 Kursk' gets its own mention, because Wolf haven't touched on this kind of song before and it is extremely well done. The title refers to the Russian submarine disaster and the lyrics are straightforward storytelling that Stålvind brings alive with his eerie howl: however, the real strength is in the generation of atmosphere without giving up on riffs and heaviness, as the band proved they could do on The Black Flame. 'K-141 Kursk' has a couple of riffs that sound desperate in their use of high notes and the speed metal influence comes back, though slowed down a little, and those riffs circle and choke the air out of an enclosed space, meaning that everything is appropriately tense and nervous, including the clever sustained notes in the middle with the chilling sample of something metallic descending into the abyss. The closing scream of "Into the void" and the slow development of the final riff is the perfect fade out to the album.

The performances of the band are satisfying for the most part, though some small spark is missing from the mix. I cannot fault Stålvind or Johannes Axeman (with a name like that, some things were just meant to be), his partner on guitars, except for a couple of riffs that need rethinking. Their leads more than outweigh any faults in general songwriting and make some of the simpler songs towards the end of the album an absolute joy to behold, particularly the classic shredfest that 'Hope to Die' becomes. The bass is a little underwhelming at times, since the guitars seem to have a deeper tone than before, though there are some of the more atmospheric moments, such as on 'Nocturnal Rites', where its presence is felt, plus we get a little solo action (it's subtle, don't worry) on 'Hope to Die'. The drums, in the main, are good, yet there's something too abrupt about them that turns those dud groove riffs into poorer moments than they actually are. Vocals are always a sticking point for Wolf: I'm a big fan and think they work well. Lyrics are more or less as expected, with the welcome inclusion of a couple of non-cheesy sets.

I find it very difficult to give a fair score to this album. There are clearly some great songs on here (the opening pair, 'Hope to Die', 'K-141 Kursk', and 'Tales from the Crypt') and a few songs that have very enjoyable moments, but I'm always going to be disappointed by any Wolf album that doesn't deliver all it promises. Fans of Ravenous may find Legions of Bastards slow and sometimes tedious, while those who revel in solos and don't mind taking their time will be rewarded with slightly greater quality than that album. For me, I mourn the decline in excitement, but recognise the great skill and enjoyment to be found here, so I can't help loving Legions of Bastards.

Lucky album #6 from venerable Swedes Wolf proves to be another corker. After their breakout The Black Flame album, the band started to get better and better press, even though they failed to follow up with a suitable sequel. Their last album Ravenous was good, but was hampered by a lack of really driving and powerful choruses - the songs built up some good steam but then pittered out when the more restrained, Euro-power-esque choruses hit. That's why I'm so very delighted to hear this album. This time Wolf are fueled by the power of old Sabbath, Motorhead and probably lots of booze and drugs to create what is perhaps their most old school, pugilistic album to date. Legions of Bastards just kicks ASS.

I really dig the simpler, stripped down feel of this. Piling on more time changes and multi-layered vocals is cool too, but sometimes all you need to kick ass is a good, gravelly riff or two and a shouted song title for the chorus, and that's the aesthetic this album works on. Opener "Vicious Companions" rips and snarls through the speakers like a hungry hyena, and then you get killers like "Skull Crusher," "Tales from the Crypt," the dirge of "Nocturnal Rites" and the curb-stomping goodness of "Road to Hell," which possesses a smoldering steel rhythm that will just destroy you from the inside out. Some of the second half of the album falters a bit, as most Wolf albums do, but they come back strong with the super-cool "K-141 Kursk," which is the most epic song on this thing. Every tune packs a mean attitude and a dirty, nasty set of riffs, and the pronounced Sabbath and Motorhead stylings just add a whole new layer of awesome to the proceedings. The production is sharper and heavier than last time out, and every song hits like a ten-ton anvil.

Legions of Bastards will rock your world. In the past, Wolf albums (aside from The Black Flame) were always good, but never great - this album is great, and their second best work next to the aforementioned 2006 album. With the attitude, the riffs, the choruses and the old-school metal street cred, Wolf catapult themselves into the first rank yet again. Let's hope the next one's even better.

Originally written for http://www.metalcrypt.com