Wolfgang’s history goes back a fair way despite “Castle In The Woods” being only their second album. Having released their first work in 1998 –“Welcome To The Cactus Mountains”, the Norwegians have had numerous distractions to take them away from being a full time functioning unit – something to do with arrests and procreation apparently. However, this doesn’t seem to have affected the quality of what they have been able to record and there is a maturity about the sound on the new album that suggests a band that has had a more consistent lifespan.
Thin Lizzy is mentioned by the band as an influence and it’s very obvious from opening track “Born On The Hillside” with its’ biting riffs, clean twin guitar breaks and Lynott-esque vocals. This theme is carried on throughout the next few tracks and while I’m never going to complain about the Lizzy sound, I’m starting to wonder if Wolfgang will steer off the tried and tested path. These tracks are very melodic, accessible and at times, very radio friendly. “Cold Hearted Express” is a good example of this – it’s a sweet, groovy rocker that’s nicely paced and delivered well. However, while the structure and delivery of these opening tracks is solid there’s the feeling we’re not hearing what Wolfgang are really about.
There’s a move to a more gritty sound on “Castle In The Woods”, but the underlying influence still dominates. By the album’s half way mark, I’m not really expecting anything remarkably different or individual but am soon pleasantly surprised. “Electric Professor” takes another step towards a dirtier sound before we start to hear some real personality on “Child Of Dragonfire”. This is the moment that I think we truly hear Wolfgang and what they’re capable of. This is a simmering, broody track with the heaviest and most muscular riffing thus far and also the most heartfelt from a delivery point of view.
The influences become a little more widespread and their muscles start to flex over the remaining tracks. “Silent Chamber” shows a bit of an early Iron Maiden side with the guitars complimenting each other nicely. The melancholy of “Arrows” provides the tranquillity before “When Gods Die” kicks off with some meaty riffs. A solid closer in “Sister Of The Wonderlands” with its’ Motörhead crunch gives the album the strong finish it really deserves.
Overall, this is a good album but it’s the second half where Wolfgang really start to shine and make a sound of their own. This is not to dismiss the album’s first half. They’re good songs and the band performs well but stylistically they lean a little too heavily on the Thin Lizzy magic where it’s obvious later on that they truly have their own identity which is solid in its’ own right.
(7/10 Johnny Zed)
Leave a Reply