Apparently, this is Wayfarer’s fourth album, and even from the outset it shows. There’s a steadiness and a confidence that comes from work put in here, and a sense that everyone is on the same page musically for this adventure. So, who are they? US band, from Colorado. Basically. The blurb describes them as black metal of the American West, but one look at that label up there and I’m sure you’ll raise eyebrows at that. Let’s be honest, Profound Lore aren’t renowned for their black metal output. Art, Americana, intellectual music and post-rock with added doom? Quality though, always quality. And Wayfarer are no exception.
“But what do they sound like…?” screams the chorus. Well, the intro ‘The Curtain Pulls Back’ is a plinky plonk, slightly tinny old time bar room piano number, reeking of deserted saloons and dust. ‘The Crimson Rider (Gallows Frontier, Act 1)’ though gets straight to the point. A strangely dreamy riff, heavy but refined, and kind of breathless, harsh vocals kick in. A meandering guitar line floats through it in a restrained way, anchored by a pulsing bass which feeds into the Western style acoustic guitar. There is that wild West feel somehow, Zane Grey writing post-black metal?
Yes, I used the dreaded ‘post-‘ phrase. It is what it is. Take a little Agalloch, and paint it into a canvas that to me screams early Solefald (particularly the Linear Scaffold, no higher compliment) and you’re pretty much there. To write and arrange this kind of music requires not just a focussed talent but a refined touch and there is no doubt that Wayfarer have that by the saddlebag full.
‘The Iron Horse (Gallows Frontier Act II) follows the same theme, pretty precisely before slowing and gently walking on with ‘Fire & Gold’. Almost spoken vocals, haunting backing; a dream world, approaching the reverie that the Fields Of The Nephilim could provoke at their most introspective and indeed would slide into The Nephilim album almost seamlessly. ‘Masquerade Of the Gunslingers’ winds up for a ten minute epic, carrying the theme from ‘Fire & Gold’ into harsher territory in a post black metal sense. It once more has the tidal feel of Solefald to it, having moved from introspection to a towering overview and an insistent melody.
Things get a little stranger after that. ‘Intermission’, which pretty much is for two minutes, draws a veil over the previous five songs and their shared thematic journey through the old West, before we arrive at…’Vaudeville’…??! A winding guitar sound opens as the band closes in, oddly Middle Eastern in sound we’re clearly not in Colorado anymore. Well, maybe the borders. It really rides the gothic feel that pervades the album and delves a little into Solstafir country…
Everything above is impressive. Adept, progressive, atmospheric music finely written and beautifully arranged. Honestly if you like Agalloch and their ilk you really, really need to give this a listen. It is sheer quality.
However, from a personal perspective, a subjective one, I have problems here. No, it’s nothing to do with the fact that taking black metal-ish riffs and vocals does not make you a black metal band. That I can begrudgingly live with (hey I love Zeal & Ardour and others). No, I have an emotional connection issue here. This is genuinely at times magnificent music, but it never, ever moves me. That could be the bands fault, or it could be my deficiency; who knows? What I do know is that I find a blur of identity between the songs, that lovely as they are, apart from ‘Fire & Gold’ their other more up-tempo tracks kind of merge for me. Rather like technical death metal I stand and admire the skill on show and then wander away to listen to some badly played basement dweller literally screaming with rage or sobbing with fear.
No, it makes no sense, but that’s the cold fact: Beautiful but I am left unmoved. Make of that what you will.
6/10 Gizmo (probably 8/10 for most people who like this style)
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