It’s been six years since we last heard from The Wolves Of Avalon with their ‘Across Corpses Grey’ release of 2016. This comprised of one massive track spanning 30 minutes and a couple of cover versions. We get five numbers this time around and just under a half hour of music but honestly there is so much to address from this disc which takes its name from a medieval Welsh poem. Firstly, there are the historical themes dipping right back into ancient lore of the land. Then there are the outside genre definitions that are involved all loosely under a pagan metal tag, the array of instruments utilised in the recording and the vast number of guests involved in the recording process and essentially vocal aspects. Seriously its enough to make your head spin and akin to doing a jigsaw puzzle putting all the component pieces together.
The heroics of the cover art speak for themselves as we dip into struggles of 300 men sent by Mynyddawg the Wealthy to recapture the Roman fort at Catterick from the Saxons back in AD 600. I am going to leave this side of things here as I’m sure you can delve deeper into the subject matter if you so wish and don’t want to tie myself in knots taking a crash course in something so studiously studied by frontman Metatron who you should also know doesn’t do things by half measures from other project The Meads Of Asphodel. We sombrely tuck into the tale of ‘Through The Murdering Night’ via narration from Venom Inc’s Tony Dolan, by coincidence the second album in a row following on from Necrodeath that I have just reviewed, which he features in such a capacity. After this the music swaggers in and the gnarly vocals of Metatron get what turns out to be a bit of a rare outing here over melodic guitars and a gung-ho dark medieval vibe. Woodwind sweeps in, the piped call texturing ‘Men of Gododdin’ as guest Hoest of Taake provides the snarls and some counterpoised clean croons harmoniously sweep over the top. V of Sentiessence is also involved here vocally with some screams apparently recorded at Fernworthy Stone Circle for added authenticity. Musically it’s a bit of everything, folky in places, chugging and metallic in others, all dished up with parts suggesting mystic quests and furrowing thunder as the drums batter out some rolling blasts. Essentially, it’s boot stomping and has plenty of drive before ‘The Shining Company’ inspired by the novel from Rosemary Sutcliff takes up a jaunty beat complete with some extra vocalisation courtesy of Thurios from Drudkh.
I haven’t even mentioned the work done by James Marinos who essentially is responsible for much of the musical composition here and the superb clean vocals, as well as other musicians from Arise From Ashes, also integral to proceedings. Like I said there’s lots to get caught up in. The next thing is another vocal takeover on ‘Dead Men’s Cloaks’ courtesy of Wulfstan of Forefather providing a sense of grace to a song with evident gloomy subject matter. It’s not a total downer however and is lifted by a couple of surges as well as sections of sublime, weeping electric violin from Nico Millar of Aklash. We are left to reflect and ponder on ‘Is This How It’s Meant to Be?’ The song moves whimsical folk to what can only be described as prog complete with some guitar licks that would not be out of place on a Cardiacs album. The clean vocals here soar and are particularly magnificent as it builds to a crescendo of melodic guitar weaving making you want to go back to the start and take everything in again.
It would have been far easier to just tell you to go listen to this yourself as it’s a difficult album to review trying to get facts right with so many aspects involved here. Of course, you should go and do that anyway, forget the short running time, this will keep you occupied for ages.
(8/10 Pete Woods)
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