...of Wariwulfs and Bluotvarwes

Veteran German power metallers Wizard are not a band that has ever tried to reinvent the metal wheel, and this 2011 output is no exception: loyal followers will know precisely what to expect, and those expectations are met to a T. The oddly titled …Of Wariwulfs and Bluotvarwes (OWaB) delivers a healthy dose of traditional power/speed metal in the vein of more widely known artists like Accept, U.D.O., Gamma Ray, Primal Fear or mid-era Manowar. The latter instantly come to mind when the albums gets underway with the speedy title track, which is by far the best song on offer – a fast-paced anthem with pummeling double bass, an operatic chorus, a blistering solo and excellent soaring vocals by lead singer Sven D’Anna. He really manages to sound a lot like Eric Adams on this one, a tune heavily reminiscent of late eighties or early nineties Manowar. This is simply an awesome track and easily the highlight of this record, which unfortunately means that none of the other tracks can match its sheer brilliance. Which brings up the question: where do Wizard falter to make the rest of OWaB feel somewhat lackluster in comparison? The answer is that they don’t exactly falter, they just fail to deliver an album’s worth of equally exciting songs.

It’s hard to point out what the rest of the material actually lacks, as it’s all pretty much cut from the same cloth and doesn’t include anything really skipworthy. Maybe it’s not so much about what the rest of the album does wrong, but what it doesn’t get right, namely offer a lot of variation or truly memorable moments. While Wizard do a nice job of switching between speedier moments and pounding mid-tempo assaults, even throwing in a balladic intro and some lush keyboard tones on “Fair Maiden Mine”, the songs generally feature a very similar blend of simple yet crushing riffs, aggressive shouting, punishing drums and operatic choruses – an approach that works well for roughly the first five tracks, up to and including “Messenger of Death”. After that, however, things begin to feel increasingly stale: the riffs a little too simple, the choruses a little too generic, the song structures a little too linear and predictable. An epic track or two could have worked wonders, as would some more solos and more varied singing. As it stands, none of the songs venture into epic territory (only one even lasts beyond five minutes), Sven D’Anna’s vocals never quite recapture the magic of the title track, and the solos that worked so well in the opener are subsequently used too sparingly.

Another aspect that doesn’t exactly work in the album’s favor is its lyrical concept. It may not be a full-fledged concept album, but apparently the lyrics are based upon the Hagen von Stein chronicles, a series of fantasy/horror novels by German author André Wiesler. However good these novels may or may not be, it’s certainly odd to base the lyrics entirely on a bunch of books that only a very limited number of people have read or even heard of. For instance, what on earth is a “Bletzer”? What precisely is a “Hagr”, who has ever heard of “Bluotwarves”, and who the heck is this Hagen von Stein fellow anyway? To be fair, the CD booklet does contain a brief glossary explaining some of the most outlandish terms, but it’s still hard for the uninitiated to really appreciate the lyrical concept without having read any of those novels.

Despite all the criticism in the preceding paragraphs, however, OWaB is still a solid and fairly enjoyable album good enough for a couple of quality spins here and there. It’s plenty heavy and aggressive, full of competent musicianship and blessed with a very crisp production making that pounding double bass even more punishing and those sharp riffs even more sizzling. It also features one true standout track as well as a couple more really good ones, so as long as you’re just looking for some traditional fist-raising, headbanging power metal and don’t expect anything earth-shattering or highly original, you could do a lot worse than this not exactly spell-binding but certainly charming wizardry.

Choicest cuts: “…Of Wariwulfs and Bluotvarwes” is the clear highlight, the rest is just a bunch of solid yet unspectacular tracks, with “Undead Insanity”, “Messenger of Death” and “Heart Eater” being among the best of them

Germany’s epic power metal band, Wizard, are veterans to the European power metal scene these days since being around for 22 years. The so called “Germany’s answer to Manowar”, who also take themselves quite seriously despite their cheesy looking promotional band photos, have had quite a successful career since 1999’s ‘Bound By Metal’ album. A true metal giant, particularly in Europe, I personally haven’t heard too much of their material and strangely enough haven’t tried to actively hunt down many albums...until now.

The only line up changes that occurred throughout Wizard’s 22 years was guitarist Michael Maass leaving in 2003 but returning in 2007. Maass’ replacement, Dano Boland played on 2005’s ‘Magic Circle’, but was left out when Maass returned for 2007’s ‘Goochan’. Boland was invited back as the second guitarist, making the quartet a quintet for Wizard’s mighty 2009 CD entitled ‘Thor’. The German metal warriors are well respected for showing much dedication by being able to keep the band united for 22 years and have stayed true to their roots and have not strayed from what they love to do. Gigs are often littered with leather, chains, pyrotechnics, fire and a shitload of raised fists in the air; which is what every true metalhead loves to see.

Vocalist Sven D’Anna is the true stereotype of the power metal singer, both vocally and visually. With a gruff and raspy bellowing voice, D’Anna belts out the notes in true warrior style and is similar in delivery to another true power metal singer, that being ex-Cryonic Temple vocalist Glen Metal. Despite his grainy style, D’Anna can also break out high pitched shrieks in appropriate areas of each track; but ultimately he sings with strong conviction and free-flowing emotion and exuberance.

As expected, tracks on the latest album ‘Of Wariwulfs and Bluotvarwes’ are speedy, catchy and filled with heavy and powerful riffs and supreme solos galore. Wizard have moved away from their Nordic Mythology lyrical themes, which has been a part of quite a few releases for them, opting for a loose supernatural theme this time round. Featuring songs about dark creatures of the night (in parts), it’s a nice break from their norm, but their music delivery has remained the same; which means thundering double bass blasts (thanks to underrated drummer Snoppi Denn) and lightning fast guitar riffs that would make your arms sore if you were strumming along with your air guitar.

The CD begins with an almighty clap of thunder, as the title track roars into life. A very catchy track, also being one of the quickest (and best), “Of Wariwulfs and Bluotvarwes” is a true metal hymn to the highest level possible. The speedy drum blasts are almost hypnotic, while the kick ass guitar solo in the middle is mouth-watering to say the least. “Taste of Fear” is another standout, with a very gruff and grainy Sven piercing the airwaves with his throaty vocals. Catchy in the chorus, the guitar riffs and heavy and are almost borderline thrash metal-esque. While “Bluotvarwes” has some tasty riffs to keep your head banging; the sensational mid-paced grinder “Messenger of Death” is one track on the album that you’ll repeat time and time again. With a fist pumping melody and riff combo, the chorus is catchy as hell, while there is a spoken bridge section that all true power metal songs should have (ala “Warriors of the World United” by Manowar).

There’s a bit of a dip in the middle of the album before the excellent tracks picks up again; starting with the hard-edged “Hearteater” with its pounding melody that keeps your head constantly moving; followed by blistering and brilliant “Hagr” which contains furious drums blasts and a melodic soaring chorus that seems to stay in your head long after the song has ended. The disc closes out nicely with two workman-like tracks; the hit of the bunch being “Bletzer” which has a kick ass bridge and solo.

If you thrive on immense guitar riffs, tantalising solos, and power metal is your genre of choice; then Wizard’s ‘...Of Wariwulfs and Bluotvarwes’ is the album for you. Both Michael Maas and Dano Boland are exceptional guitarists and their performance alone is enough reason to hunt down this release. In the end, while there are a few tracks on the disc that don’t register too high on the Richter scale, the majority of the CD is very well done and worthy of the Wizard name. It may not be of the same calibre of ‘Thor’, ‘Goochan’ or ‘Head of the Deceiver’, but still a very solid album nevertheless. Wizard fans should still blindly grab this disc, while fans of power metal bands like Manowar, Cryonic Temple, Primal Fear and Helloween will also find ‘...Of Wariwulfs and Bluotvarwes’ enjoyable.

(Originally written for www.themetalforge.com)

Man, this is fucking cool! Second-tier German power metal mainstays Wizard have long found themselves existing in the shadow of the numerous, more favored acts that (rightfully) give their scene such a pristine reputation. Being relegated to a second-stringer position is never ideal, but Wizard have pounded out a consistent, borderline prolific catalogue in the meantime. Parallels can be drawn to fellow countrymen Suidakra in this regard, for sure. Although I lack a comprehensive grasp on all of Wizard's output, I am privy to the fact that most consider Head of the Deceiver their greatest opus. It may be time to reassess that position, because the creatively titled ...of Wariwulfs and Bluotvarwes is an efficient, back-to-the-roots ode to all that "fuck yeah!" in the German heavy metal scene.

Efficiency is the fundamental attribute here, as the band wastes no time with verbose instrumental openings. No time for that, instead listen as the title track rumbles forth with devil-may-care abandon. Cool at first, it elevates to just shy of spectacular when it hits the shout-along chorus. I gotta give D'Anna and his crew credit here, they are truly aware of their strengths and don't overreach their goals. The atmosphere and lyrical concept intertwine coherently, and have no trouble shining through despite a general deficiency regarding keyboards. The first half of the album recycles the same winning formula, reaching a fever pitch during "Taste of Fear." All killer stuff and by no means wanting in any compositional regard.

The proceedings get more multifaceted and interesting when "Messenger of Death" comes around. This is actually the track that originally sold me on the album, and while it boasts a more moody and lumbering structure, it gives the listener a well-deserved breather after the landscape razing that preceded it. The song revolves around a sticky, dark lead that also pops up at the beginning of "Undead Insanity," coming off as more of a concept tie-in rather than forced reuse. "Fair Maiden Mine" screams power ballad at first, but actually retains interesting structure and has some very well placed synth lines. Part me of wishes that Wizard would use more keyboards, as D'Anna clearly has a keen ear for their placement, but I'll live. Some comparisons can be drawn to mid-era Grave Digger at times, as both "Sign of the Cross" and "Hagr" would fit rather snugly within the confines of Excalibur or perhaps Knights of the Cross, which is definitely a high honor.

Performances are apt, although I really wish that the guitars were louder. Boland and Maass have carved out a decent chunk of trademark style over the years, and as I mentioned earlier regarding that signature lick that pops up at a few junctures: you don't need veteran ears to tell that it is Wizard. The guitars actually have a rather solid, lo-fi crunch to them, they are just far too low in the mix for my taste. This is a flaw that irreparably damaged Grave Digger's Liberty or Death, but it isn't as big of a deal here for a couple of reasons. First, no matter how discursive the verses may get, the chorus will always save the song. Second (and as briefly touched upon), the guitar tone is still gritty as fuck and serves the band well. At any rate, this is the single shortcoming that keeps "modern classic" status just out of ...of Wariwulfs and Bluotvarwes' clawed grasp.

An atypical narrative and an adherence to the almighty riff is what makes this one such a keeper. D'Anna is a great front man and has the ability to let loose some divine wails when he feels like it, simply adding to the appeal. Seems like public opinion regarding much of Wizard's post-Odin output is rather mixed, so while I am busy tracking down the rest of their back-catalogue to draw my own conclusions, check out ...of Wariwulfs and Bluotvarwes; you won't regret it.

It's pretty rare that a power metal band in today's climate can tackle the supernatural antiquity of werewolves, witches, and blood sucking things of the night appropriately. Powerwolf seems to do a good job in this terrain, but perhaps its their excess use of organs and tongue in cheek lyrics that win out. Other stabs, like Iced Earth's Horror Show, were average at best, and now Germans Wizard have decided to deviate from their usual Norse Myth 101 ramblings to capture the subject, basing their lyrics on a historical horror trilogy of novels by the author André Wiesler called Die Chroniken des Hagen von Stein. This is a curious choice, as the books are only a few years old, and most fantasy metal bands focus on surefire classics, but hey, why the hell not? After all, werewolves, witches and such are quite the trend in all media these days.

...Of Wariwulfs And Bluotvarwes is certainly the most colorful title the band have chosen for an album to date, leaving behind such minimal, lacking fare as Odin, Thor and Battle of Metal. While I'm not inherently opposed to a power metal band veering towards darker subjects (Grave Digger is one obvious example, but there are others), I am not sure that the bright polish of Wizard's songwriting is always best affixed to the gloom of the source material. That said, this album rocks far more often than it doesn't, channeling the band's massive Manowar influence into a landscape of melodic European power anthems that are like to please fans of bands like Primal Fear, U.D.O., early Edguy and the aforementioned Grave Digger. Little to no nuance is involved here, and many of the riffs will seem derived and familiar to anyone that has followed the genre in the past 15-20 years. "Hagr" feels as if it were straight from the book of Judas Priest-isms sharpened by Primal Fear. The title track is essentially late 80s or 90s Manowar, both the opening guitar riffs and Sven D'Anna's vocal performance. Quite a few of the songs also have that grimy Kris Boltendahl pitch to them (like "Taste of Fear", "Blotvarwes" and parts of "Heart Eater").

It's not an impressively dark record by any means, but it's efficient, and I can't think of a single song that withdrew me from the headbanging hypnosis of the simple rhythms and attempts at memorable chorus parts in "Hagr", "Sign of the Cross" and even "Fair Maiden Mine", with its slightly lusher prog/power overtones. The production is pristine and glossy, they've had about 15 years or more to work through this, so it's as clear and professional as most you've heard of late in the higher tier of the Euro throng. D'Anna might lack the silky tones of an Andi Deris or the screaming range of a Henning Basse, but he works well enough with the pipes he was given, and the band never devolves into glorified self-indulgence. Granted, some might not take to the particular theme Wizard are exploring here, but its not at all a bad thing to hear them branch out beyond their Viking lore obsessions. ...Of Wariwulfs And Bluotvarwes isn't about to spin heads out of their sockets, but it's solid and entertaining for the craft, and unlikely to face charges of heresy.

-autothrall
http://www.fromthedustreturned.com