Wolverine – A Darkened Sun – Review

Artist: Wolverine

Album Title: A Darkened Sun

Label: Independent Release

Date of Release: 31 October 2020

If nothing else, Covid-19 has brought out some of the most creative and ambitious sides of our cherished and beloved musicians, who have fought hard and tried to find ways to stay alive whilst their world has threatened to crumble at the hands of a global pandemic that has seen live music in the flesh cease almost entirely. Streamed gigs, greater social media interaction, inventive merchandise offerings – you name it, we’ve seen it over the past year.

Wolverine are no exception, as ‘A Darkened Sun’ more than ably proves. Not content to release a ‘standard’ EP or full-length, they have created what they refer to as an ‘audio-visual’ release. Essentially, ‘A Darkened Sun’ is a four-track (or four chapter) EP that clocks in at around the 28 minute mark. However, it is being released entirely independently via YouTube, with the music accompanied by a full-length video, filmed by the band’s very own bassist Thomas Jansson.

Cards on the table, my personal circumstances have not afforded me a great deal of time to watch and digest the video that accompanies the music in minute detail. Children, full-time job, dog…you know the score. Nevertheless, I have watched it a number of times and what I would say is this: it is a very well put-together piece of work, that fits the music perfectly. As you’ll know, Wolverine are not the happiest of bands when it comes to their musical output and lyrical content. In keeping with this, the film is shot in black and white, which is perfect to convey the bleakness of the story that unfolds through the four chapters. The imagery is rife with symbolism, but it has a gritty, earthy texture about it too, conveyed through the urban landscapes that appear throughout. It’s also incredibly dark in places. At risk of being way off the mark, I wonder whether the main female protagonist in the video is Sarah, who featured on the ‘Cold Light Of Monday’ album, released back in 2003. Either way, the great thing about art is that it can be interpreted in any number of different ways, so perhaps it is best that each of us approaches the video independently, to draw our own personal, subjective conclusions.

Manofmuchmetal.com is always about the music first and foremost in any case and so that’s where I now want to turn my attention. When it comes to the songs themselves, I have lost count of the number of times I have listened to them. I therefore feel much better positioned to give my thoughts on this aspect of the release.

My first comment is that the music is strikingly heavy. For a progressive metal band, Wolverine have never been light on the ear, but the opening two tracks in particular contain arguably some of the most muscular guitar tones in their history. The opening distorted chords of ‘Phoenix Slain’ by Jonas Jonsson that emerge after a suitably dystopian-sounding repeated electronic note, are bold and full of menace. However, after a flurry of activity, the song quietens down into something altogether more sombre and melancholy, Stefan Zell’s voice cutting through the beautifully brittle soundscape with understated emotion. Instantly recognisable as Wolverine, the ebb and flow of the composition is one of its many strengths, as are the subtle melodies that only really make their mark after several spins, and when you least expect them. The modern electronic sounds and accompanying synths courtesy of Per Henriksson create an unsettling atmosphere as the song meanders into darker territory, whilst raising the tension via well-placed guitar solos and a more insistent rhythmic beat from drummer Marcus Losbjer and bassist Thomas Jansson. There’s a brief moment of piano-led calm before the track explodes once again with a reprise of those threatening guitar chords, more emotive lead guitar work and greater, more pronounced syths.

There is precious little time to pause for breath as ‘The Breach’ opens with a heavy, grooving, churning riff. It is a track that’s possibly more instantly dramatic than its predecessor, but it is blessed with a gorgeous chorus melody that gets more addictive with each passing listen. The atmospheres are so poignant, especially when let loose in the quieter sections, only to release into the beautiful chorus once again. This song is Wolverine at their beguiling best in my opinion.

‘Dead to the Moon’ is a quieter, more introspective affair that’s unmistakeably Wolverine but with a hint of Katatonia about it. It is arguably the bleakest of the four compositions here, but no less gorgeous and well-written. And then, the final track, ‘Hibernator’ – do I detect a vague sense of hope, and positivity? Not according to the lyrics, no. But there’s something about the song that suggests otherwise. I love the opening beat, where bass, drums and synths create an immersive experience from the outset, but it’s the ‘chorus’ melody that draws me in the most, made all the more powerful thanks to the cloying darkness and oppression that’s present within the majority of the song.

And then? Nothing. That’s it. Damnit, I wasn’t ready for the music to end. On this form, I want to hear another three or four songs, to revel in the misery that Wolverine are so expert at creating. When you listen, you are transported to some really dark and desolate places but it never seems to matter because the music is so cleverly written and immaculately performed that you willingly get caught up in their typically grim world. I hate that Wolverine have never received the recognition they deserve – in a fairer world, they guys would be huge. And the fact that they are willing to try something different, speak volumes for their creative hunger. Yes I would have preferred a full-length ‘normal’ album, but this audio-visual production, available on the band’s website at http://www.wolverine-overdose.com/ is excellent in its own right and may just gain them a few new fans along the way.