Wodensthrone - Loss (2009)^{Release ID: 17853}

It has been a while since a listened through the debut full-length from the now defunct Wodensthrone. The sound borrows more than just a tad from Drudkh to the extent that the opening of album closer That Which Is Now Forgotten – 597 borders on pure worship of the Ukrainians. The atmospheric elements contained within Loss draw a direct line to the first four Drudkh albums and similarly the charging momentum of the Wodensthrone debut matches the same impetus. Now, to have such a comparator is without question something of merit for a band who at the time were in their fourth year of existence. However, when you struggle to be able to stabilise where the influence stops and the genuine motivations of Wodensthrone begin then it is clear I have some challenges here.

With most releases (certainly most debut releases) I am looking for a band’s identity to shine through even if a plethora of influences are obvious at the same time. On Loss, I just do not get any sense of identity overall and the band come off as just combining the best bits of WITTR, Drudkh and then hark to some Winterfylleth to round things off. What I get therefore, whilst being of good quality, just is not that interesting in the grander scheme of things. In the more pagan inspired moments is where I find the greater levels of intrigue if I am honest, and as such I want to enjoy the record more than I do.

Now this is not to say that Loss is without its moments. The thundering fury of Black Moss needs acknowledging and celebrating as it is by far the most powerful and energised track on display here. It is the only track that shows enough individuality of sound to warrant notice above the other far too obviously influenced tracks. Whilst it most certainly does stray into that Drudkh hole that they continually fall into it does still standout as an individual triumph still with an acute level of intensity that is both imposing and welcome at the same time. The tremolo riffs wail on this track and the more basic riff patterns give real life to the passages. In many ways it is the most straight forward track on the album and is one whose structure they perhaps should have embraced a little more throughout the album.

In terms of quality, Wodensthrone knew how to write and play great atmospheric bm (just not necessarily own it at the same time). The level of musicianship was up there with the likes of Fen, Saor, Fuath and even Negura Bungent’s less ambient moments. However, it all just lacked an element of responsibility for the own sound and that in so many ways is an absolute tragedy.