Review & Track Premiere: Wolftooth, Wolftooth

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[Click play above to stream ‘Frost Lord’ from Wolftooth’s self-titled debut. Album is out Jan. 19 digitally on Cursed Tongue Records with vinyl to follow in May and CD and tape due March 9 via Blackseed Records.]

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Informed somewhat in its melodic reach by modern progressive metal via the likes of a less angular A How To Start Writing Thesis is your way out. Having passed the entrance examination preceding the acceptance to the authoring team at Customwriting.com, Baroness, the mid-tempo swing of “Aegaeon” finds vocals layered and manipulated in a manner that recalls High-quality lab http://www.sportjugend-hessen.de/?how-to-write-a-letter-on-paper is developed by our company to provide students with custom lab reports written from scratch. Get professional lab Fireball Ministry‘s compressed style, and the penultimate “Forged in Fire,” though it embarks on a gallop just past its halfway point, reaffirms that notion early in its going, as does the harmony-laced closer “Season of the Witch.” A persistent use of epic themes in cuts like “Sword of My Father,” “White Mountain,” “Frost Lord” — unless they just really love cocaine, which given the cohesiveness of their sound seems less likely, but I suppose isn’t impossible — and some of the push in “White Mountain,” or “The Huntress” and “Blackbirds Call” could be said to be culled from http://jval.ch/helpping-for-your-case-study/s have become more popular than ever, but finding the right one is always a struggle. Choose surfessay.com for getting high-quality High on Fire, but like the other potential points of influence or at least sonic congruity noted above, as well as the classic-style Start studying Why I Want To Become A Nurse Essay. Learn vocabulary, terms, and more with flashcards, games, and other study tools. Thin Lizzy stomp that begins “Sword of My Father,” these are filtered through the band’s own modus of expression and come through as their own.

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No question it’s a collection of songs as opposed to a singular work, but the band split the tracklist neatly in half to bring the two sides of their debut long-player to bear with a marked flow from front to back, and aside from being impressively consistent in tone across its span, in the expanding melodies of “The Huntress” and “Season of the Witch” — which, it should be noted, does not seem to be a Donovan cover — one can nonetheless hear how much effort the group has put into crafting this material, and that very much extends to the production contribution of Jeremy Lovins at LedFields Studio in Connorsville, IN. Produced in conjunction with the band and assisted in engineering by Skylar Nichols, the clarity of Wolftooth‘s underlying aesthetic and sonic ideas comes that much more to fruition because, one senses, not just of the past experience of members in other acts, but because of the partnership between band and studio, the two sides working in conjunction toward the same ends.

All of this, of course, feeds into the notion of Wolftooth, as a debut album, being particularly noteworthy in its sheer got-itself-together-ness. That’s a somewhat patronizing cliche to use, but it’s a striking appeal all the same, and further evidenced by the balanced nature with which Wolftooth approach what for them is a thin line between rock and metal and prove themselves able to follow the whims of their songwriting to one side of it or the other. To wit, the pairing of “Frost Lord” and “The Huntress” or “White Mountain” coming out of “Sword of My Father” to cap side A. This dynamic, bolstered by the steadiness in the production itself, gives the album its sense of range, and Sullivan‘s melodic vocal approach assures that as they recount tales of witches, broadswords and other epic/fantasy thematics, they neither become overly dramatic nor chestbeatingly dudely in their delivery, even as “Frost Lord” dips into its triplet-gallop chugging breakdown.

It should be noted that Wolftooth caps with its three longest tracks in “The Huntress,” “Forged in Fire” and “Season of the Witch,” which leads one to wonder if perhaps the band aren’t signaling intentions toward even grander fare their next time out. Would be fair enough. They’re still able to hone a memorable chorus into these longer slabs, so I wouldn’t be surprised if they expanded the interweaving aspects of the two guitars as they moved forward and wound up with longer tracks as a result, although the more immediate impact of “Sword of My Father” here is a factor to consider. Whichever way they go, Wolftooth‘s forward potential is writ large throughout this first offering, and that it drives one toward such speculation for avenues of their future progression should be taken as a sign of how likely that progression seems to take place in general, regardless of its ultimate direction.

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One Response to “Review & Track Premiere: Wolftooth, Wolftooth

  1. Gregor says:

    This literally sounds like Sword songs that didn’t make the cut for the second record.

    Take that how you will.

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