Review by Jeger on July 26, 2024.

Tuomas Saukkonen - dude's a serious brute, right? Like Viking material… So, it's only natural that the music he creates happens to be fit for battle, for triumph and for pale nights under silver moon; bonfires ablaze and axes glinting aside their dancing flames. This is melodic death done the Finn way and with all proper Scandinavian brutality to complement melodies of Valhallen proportions. In 2012, Tuomas formed Wolfheart and since, this fast-rising establishment has released five uncompromising, eagerly-received LPs and one just over the fiery horizon as we prepare for Wolfheart's sixth addition to their envied discography, Draconian Darkness, to be unleashed on September 6, 2024 via Reigning Phoenix.

All things grande, chorale and symphonic to introduce you to all those glorious riffs you've been waiting two years for more of, and the ground is hit running. Each record an organic continuation of the former; conceptually an homage to Finland's unforgiving seasons and unflinching warrior's spirit. With Draconian Darkness, we happen to stand upon the Autumnal cusp where the promise of death to all things but also renewal harkens through the forest gale. A more soulful approach to the craft as discovered in 'Evenfall' where texture and warmth both stand paramount within each passage: a hearty triple vocals assault, a tempered lead and blessed note after blessed note raining over you as leaves falling from their mighty oaks. And as you bear your ears witness to 'Burning Sky' in all of its compositional/atmospheric glory, one fact should remain starkly clear, and that is the realization that this is some world-class shit right here; intangibly setting the bar to heights unreachable once more with every epic track are Tuomas and crew. And with unparalleled wisdom in recording to boot. People are rarely in the mood for weird 13 minute long tracks here, interlude there and your guess is as good as mine over here… With Draconian Darkness, Wolfheart provide a most welcoming and staying experience with 10 evenly measured cuts that each bleed seamlessly into the next and without a bunch of guesswork. Anticipatory but in a good way where everything feels familiar and intense, edge-of-your-seat tracks like 'Grave' awe, but don't necessarily shock as they play out to arrangements fevered in nature (DM-laden grinds, rapidly evolving riffs and ethereal atmospheric overtones) compared to what's been previously experienced.

Epicality fit for cinema… Take notes, youngsters, because what you're doing is great but not this great. Tuomas and his band of honed savages proving to be worthy of study here, particularly during the stunning visualizer to the aforementioned 'Evenfall'; just the band and engineer in the throes of recording such a gem of a track. A level of class and professionalism revisited here as I'm reminded of 'The Hunt' - Wolfheart's 2013 debut single. From acoustics to distortion and cleans to gutturals, from melody to harmony and atmosphere to forefront, a reflective closing track in 'The Gale' that hits with all the finality of an unexpected death as this majestic recording approaches its climax. And it's to the fading out of piano that it culminates… Take a breather, you’ve earned it…

That satisfied feeling that comes after watching a Lord of the Rings-level epic and the residual majesty of it all to haunt the rest of your day. Draconian Darkness - but another more-than-worthy flash of melo-death steel out of Wolfheart, who despite the cheapening of extreme metal as a whole, continue to hold tight to their long-established and uncompromising way of recording music. We need bands like Wolfheart and albums like Draconian Darkness now more than ever. There's a level of elitism to be found here that may be admonished today, but nonetheless is of the utmost importance for any kind of viable artistic future for extreme metal. Finland… You just don’t fuck with Finland, man. Enjoy.

Captivation: 9/10
Cover Art: 8.5/10
Concept: 9/10
Production: 9/10
Revisitability: 10/10

Rating: 9 out of 10

Review by Felix on March 31, 2023.

Since the release of "Ceremony of Opposites" I was convinced that Samael are blessed with an extraordinary talent. "Passage" was already a very different but still fantastic work. Nevertheless, at the end of the last millennium, it became more and more obvious that Samael's intentions and my musical taste were no perfect match any longer. "Solar Soul" was another brick in the wall that separated their ambitions from my musical wishes.

First of all, it is no m***l album. Yes, I don't want to write the word m***l in this review, because the sound engineers worship synthesizers, while the guitars are just a subordinate accessory. In addition, none of the "natural feelings" of a m***l album does occur: no anger, no aggression, not even the smallest touch of insanity, no oppositional attitude, no revolutionary emotion. Instead, Samael offer eleven uniform tracks, standardized in length (3:30 – 4:39) and speed. Mid-tempo till death is on the agenda. Switzerland's avant-garde sees the highway, but the dudes prefer to drive on the side street with reduced traffic where life is a long and silent (or should I say boring?) river.

Anyway, let's get back to the sound. If you cherish keyboards bombast, the precision of Swiss clockworks and robots that think they are human beings, you will love the production. But I do not like this objectively flawless mix. It is warm, full and smooth, but without depth or individuality. Additionally, it conveys rather a theatrical mood than a m***lic approach. So one of my last still working brain cells sends permanently the confusing signal: something is wrong here. Why did you buy a heavy pop album? I beg your pardon, brain cell, I am too old to remember.

Due to the absence of riffs, we have to put the focus on the melody lines. They commute between monotonous and great. Yes, the flickering melody of 'Slavocracy' and its slightly menacing mood make this song to the highlight of the album. Apart from this track, the comparatively powerful 'Valkyries' Last Dance' cuts a swath through the jungle of mid-tempo monotony. Nevertheless, I cannot forget the thought that Samael prove their ability to waste their potential in a very dubious manner. The seemingly endless stream of similarly constructed songs leaves me more or less cold, even though the majority of the songs are acceptable. "Acceptable" - what a shameful word in connection with Samael!

Even when it comes to pretty good (pop) harmonies ('Quasar Waves' is based on a charming, oriental tone sequence), "Solar Soul" remains ironically quite soulless. Overall, I see no possibility to join the ranks of those highly respected reviewers who have given this work an amazing high score. My sad conclusion is: competent musicians have recorded an album full of electronic gimmicks and monotonous, not very charismatic vocals whose totality is less than the sum of its parts. Evaluating each piece individually would perhaps result in a higher rating than indicated above. But on the long haul, it's just tiring and a bit limp.

Rating: 6.3 out of 10