Wolves In The Throne Room

Album review, the new live catharsis, and an old interview resurfaced…

Wolves In The Throne Room just played shows last week in New York City, one at the great Bell House in Brooklyn on the 12^th and the second on the 14^th at a favorite local diy spot, Death By Audio. I’ve been dying to see them again and seriously counting the days until it happened. I just had to go both nights since they really don’t come around that often, and especially since rumors surfaced that this would be their last US tour ever. So great running into founding brothers Nathan and Aaron again – still the same warm, genuinely humble and friendly people I’ve first met – nothing has changed, always a pleasure to speak to them.

Once again on stage, they were more amazing then I’ve ever seen them. I’ve only experienced them two times before in the last three years and they floored me with their previous performances. The third time is always a charm as they say, so now that I was more excited then ever I knew what to expect. These two times around they really took it to the next level. Daamn! The new album sounds absolutely devastating live (they opened each night with Thuja Magnus Imperium – immense!) and the old classics (Cleansing, I will lay my bones…Ahrimanic Trance) have developed tremendously, always evolving, taking a life of their own with every interpretation.

Now more than ever, Wolves In The Throne Room have not only become the hypnotic black metal maelstrom, but surpassed what could be the most intense and fantastic experience to witness live, capable of any transfigurations you’re willing to let yourself go through. The band is devastating and otherworldly in flesh, period.Not because they do something completely new or unheard of (because they don’t, and anyone who claims that it’s what they claim, is a fool), but because of how intensely they play their music, because of the fantastic atmosphere they create, the way they make their art resonate in you. The beauty lies in the vastness of their riffs, in the pummeling and hypnotic drumming. It lies in its simplicity and humbleness.

Their fourth and recently released album has easily been the most anticipated record in the (post) black metal scene in years, and in my opinion didn’t fail to deliver. From the splendid cover artwork by Alison Scarpulla to the music itself, Celestial Lineage is a gem even if at first listen (for me it was about a month ago on an unforgettable seven hour train ride from Oslo to Bergen for The Last Supper, last edition of Hole In The Sky) to me it seemed to be not quite what I was expecting, but slowly turned into a fantastic record that just required real attention, because it’s full of subtleties. So much of the great musicianship is hidden in its details.

I love the fact that Jessika Kenney is back recording with them, as her voice on Two Hunter’s ‘Cleansing’, is one of the most sumptuous and delicate female vocals I ever heard, right up there with The Third And The Mortal’s Kari Rueslatten. As desolate as ever, their burning fire seems to have a different light this time around, the album being definitely their most complex one yet although it doesn’t really break completely new ground…and I don’t see why it necessarily should. Just because Agalloch did it I don’t see why everyone should…this is something different and by no means no less special. It’s just more diverse, it breathes differently.

I like the fact that Aaron Turner (ex Isis, now in the great Mamiffer and House Of Low Culture) is present here as well giving it even a more special nuance with his distinctive voice…the whole thing really does feel like the ending of something…it’s an album that I’m persuaded will age very well, evolving both in your heart and consciousness, already foretelling powerful nostalgic feelings. If rumors are true and this is really the end, if they’re really going to go somewhere else with their music, I’ll admit to this: Celestial Image is so good I already miss it.

A few years ago I had a very lengthy phone chat with drummer Aaron Weaver. It happened after the release of Black Cascadeand at the time it was one of the best interviews I had ever made. I remember I was nervous as hell because this was quite a personal piece for me… but Aaron really put me at ease, and quite frankly I don’t remember a more pleasant conversation with someone until that day, more than just an interview.

Aaron and I touched on a lot of different subjects, like the band’s inception, their concept, a radical environmental movement where the idea of the band / concept first emerged, their retreat in an isolated community and lifestyle choice, music politics, society, why they were banned to play in Germany and called fascists, and quite a few others. It’s an interesting read, and I don’t know if too many people got a chance to check it out when it first came out, so I’m bringing it back.

So this would be a “Part One”, if you will.  Stay tuned for the follow-up.

Once the US tour comes to an end, there will be a follow-up to this interview, and Aaron and I will discuss the new album, what’s been happening with the band in the last years, and what the future holds.

Continue reading: Wolves In The Throne Room: album review, the new live catharsis, and an old interview resurfaced

Tags: Aaron Weaver, black metal, Celestial Lineage, Nathan Weaver, southern lord, Stefan Raduta, Transylvanian Hungerrr, WITTR, wolves in the throne room

This entry was posted on Tuesday, September 20th, 2011 at 8:41 pm and is filed under 2011, Interviews, Roadburn Recommended . You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.