WOLFENHORDS

The Truth Shall Set You Free

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84 min !!! Sprawdź inne moje aukcje z muzyką zespołu.

This is the fourth album from the Croatian black metal bandWolfenhords, and it was released almost three years after the previous one (White Power for White People, Fight!). Three years might seem a bit long pause among albums for such a young band, but this album again gives us around 90 minutes of absolutely great music.

The Nobll, Wolfenhords' only member, obviously wanted to shift style to a more experimental one, with influences ranging from, again, thrash metal, to, again, folk, and this time even to electro-music or post-rock. This time, there are also three covers presented (Melkor's„Holokaust Kršćanstva“, Hellhammer's „Sweet Torment“ and Burzum's„War“) plus 14 original songs (including the intro and the outro).

Albums starts with a short, and very good intro, „Occult Orchid“, which is a truly epic prologue to what comes later. Then come „Bastard Religion“ and „The Cartel of Blood“, two of the albums more straightforward, black/thrash pieces. Of these, „The Cartel of Blood“ is my favorite, as it is the song the listener would instantly remember and recognize when he plays it again. The chorus is simple, consisting only of the title and few lines, but the riffing is really memorable. The best part is the bridge that starts at about 2:30 and some nice melodic lead work at the end.

The first cover, „Holokaust kršćanstva“) is also the first song on this album sang in Croatian and pretty much pure black metal song, but, in my opinion, inferior to The Nobll's original works. Fifth song, „European Tragedy“ finishes this more conventional block of songs and shows some more experimental tendencies. It has excellent intro consisting of both more melodic lead guitar and nice rhythm. The leads shows some more traditional tendencies than shown on earlierWolfenhords' albums.

„Kozoglav“ features nice cleaner leads and even some clean back vocals (which are done in pair with The Nobll's trademark harsh vocal style) and orchestration. The next one is one of my favorites, „KultFolk“, a very unusual piece of work for the black metal band. It features some excellent folk-sounding leads and some parts I am not very sure in which genres do they belong, but it all fits really good. Both of these songs are sung in Croatian, which is a big plus.

„They live“ is a mix of traditional black/thrash with well-done electronic experiments, especially in the beginning and the end. „Sweet torment“ is a good cover of the Hellhammers' classic, but then comes the 11-minute long title track. It starts with a melodic intro played over the simple drum beat, but then turns into a classicWolfenhords song, with many melodic parts and nice leads. (especially the one at 4:30), some of which remind me of traditional metal/NWOBHM bands. The vocals and the guitar are in excellent cohesion there, and Nobll even delivers some high-pitched screams and pretty diverse vocal style.

Excluding the intro and the outro, this album features, like the previous, one instrumental song. The name of the instrumental is „The Warriors of the Undrground“, and it is a good song, nice mix of guitar leads with electro-music, although I prefer „PaljevinskiGrobovi“, from the previous album. Then comes the cover of theBurzum's classic tune, „War“, which is also well done.

„Vampire hunters“ has a memorable chorus (not something you can usually find on a black metal album very often), and nice leads plus a background keyboard work which adds depth and even some „epic“ qualities. „Saturn rising“ is the most experimental song on this album, and I don't know if it is metal mixed with electro or electro mixed with metal. It is something I would call cyber metal or space metal, and features some „robotic“ vocals. The vocals are pretty low in the mix, with electronic work in the first place. The rhythm is given by both „traditional“ and electronic beats. „The Vault“ is a more straightforward piece, like the songs from the beginning. The last non-outro song is „Welcome to Croatia“, another song with various influences, from clean melodic lead work, to post-rock riffs, to shouting vocals on few lines. The outro, „Message to Marija Oršić“ is another experimental tune you need to listen, because any description would be useless.

The lyrics deal with Pagan beliefs and Slavic mythology (for example, „Kozoglav“ and „Kult Folk“), anti-Christianity or, better suiting, violence of the Church (example - „Bastard religion“). There are much less NS themes than in the previous Wolfenhords works, and the author shifted towards modern politics, and one key issue, the European Union. Wolfenhords tries to warn people about the dangers of the Union, such as in „European Tragedy“. This is also a brave move by the author, as it is almost forbidden to speak versus the Union in the land of Croatia. „Welcome to Croatia“ deals with the corruption of the Croatian politicians, who watch only their interests (something which is usual for nearly every country in the world).

All in all, I can hardly say if this album is better or worse than the previous one. This one is more experimental and more electronic, while the previous one had a more straightforward sound. The Nobll'svocals are standardly good as is the songwriting. Personally, I would rate this album a bit better, but it's up to the listeners to decide which one do the prefer.