Wolvhammer - The Monuments of Ash & Bone

By Matt Hinch. It feels like it's been longer than four years since the last Wolvhammer release. I didn't forget about them though. New album, and first for Blood Music, The Monuments of Ash & Bone definitely made the wait worthwhile. I admit I haven't gone back and reminded myself

By Matt Hinch.

Artwork by Brian Sheehan.

It feels like it's been longer than four years since the last Wolvhammer release. I didn't forget about them though. New album, and first for Blood Music, The Monuments of Ash & Bone definitely made the wait worthwhile. I admit I haven't gone back and reminded myself what their previous records sounded like but sometimes context just isn't in the cards. Besides, this album hasn't left my phone in a solid year.

In my humble opinion, or rather, as pertaining to my personal tastes, Wolvhammer are upper tier USBM. Never mind your basements and bullshit necro recording techniques. Monuments sounds great. Sounds huge. Sounds nasty. There's no doubt to the black metal base here but it's not all blasting and arctic wind riffing. Atmosphere plays a part, as well as varied tempos and pacing. It's not “black 'n' roll” though.

As you may or may not know vocalist Adam Clemans also sings for Skeletonwitch. When he was announced as Chance Garnette's replacement my initial reaction was basically “COOL!! That guy kicks ass!” Kick ass he does. Most of the time he rips ears with his signature snarly rasp. Clean vocals aren't out of the question but his chilling delivery mates perfectly with the bulldozing riffs and energetic percussion. Guitarists Jeff Wilson and John Porada, bassist Andrew Gerrity, and drummer Garry Naples round out the new lineup in case you were wondering.

Most of the album is fast enough. Militant, biting, gnashing and fierce. Physical and bruising. Wolvhammer drag the listener through the darkness on the back of their infectious riffs and feral energy. Stand out track “The Failure King” is so powerful. It came on the PA between sets at a Goatwhore show and I was just as excited for that as anyone actually on stage. Closer “Solace Eclipsed” though slows it down, bringing in plenty of atmosphere and those clean vocals. The tone of this track feels more morose and cold, a change not met with listener resistance for the album's waning sounds. It still has some pounding moments to inject a sense of determination the listener can take with them. As well as a desire to start it all over again!

The Monuments of Ash & Bone is fantastic. Wolvhammer's sense of motion and conviction doesn't go unnoticed. There's nothing to complain about. Its aggression and dynamics hit the sweet spot and give me the sense that their live show is something to witness. USBM doesn't get much better for me. I'm already yearning for their next offering but this one provides plenty to chew on (and burn through) until that day comes.

Wolvhammer / Krieg - Split

Written by Matt Hinch.


The inevitable matchup between US Black Metal stalwarts Wolvhammer and Krieg has arrived. A couple months ago to be correct. I'm a little behind. On this split from Broken Limbs each band contributes a single track making for a quick and dirty little 7".

Wolvhammer takes the A Side with sludgeoning black metal on a track titled "Slaves to the Grime". Based on a groovy pulse and a simple yet effective riff it mixes more tempos in before returning to the original headbangin' throb. Epic, doomy passages open up the snarling tone and skittering guitars bring paranoia to the sludgy plod. Blackened rhythms up the ante to match the disgusted rasp admonishing the mindless hordes driving themselves toward extinction in service to "The Man". It's nothing unexpected from Wolvhammer but that's not a complaint. It's yet another example of how they are able to fuse the spirit of black metal to engaging riffs and grim but grinning groove.

The ever-prolific Krieg take a more frigid path on their side. "Eternal Victim" may only be 3:30 long but there's no lack of icy venom. It too comes full circle, starting and ending on a cold, dark, gritty note. The overriding feel is one of bleak desperation as the impassioned screams reek of hate and menace. But stuck in the middle is a super catchy riff that makes you want to grab someone by the throat and scream "This is what it's all about!" full on in their face. Following a brief blitz the track returns to the anguished darkness and fades into nothing.

Both bands have a busy 2014 with Wolvhammer releasing Clawing into Black Sun on Profound Lore in July and Krieg set to unleash Transient next month as well as live dates for both. So when this came out back in June it served as a sort of teaser for both band's new albums.

The pairing is natural to be sure. Both songs give the listener something to grab on to as they grapple for purchase amongst the icy tone of these USBM mainstays. And hey, it's cheap!

[Go to the post to view the Bandcamp player]

Wolvhammer - The Obsidian Plains

Review by Andy Osborn.


Wolvhammer was another great 2011 addition to Profound Lore's roster. Unfortunately, with this release sandwiched between The Atlas Moth's critically acclaimed psychedelic stoner anthems and Leviathan's controversial album, The Obsidian Plains seemed to get lost in the ether and fall short of the praise it deserved.

Photo by Carmelo Española

This is urban black metal. It's a lifeless, concrete-grey, devoid of life and filthy beyond hope. The Minneapolis quartet aren't "post" or "gaze" anything, throwing down slabs of blackened sludge riffs that crush your skull and warp your mind. Adam Clemans' horse screams form a blistering inferno over the punk-ish verses and brilliantly placed guitar solos. The songs generally follow the same pattern of medium-paced fist pounding that become increasingly infections before suddenly turning to upbeat jams that kick your teeth in. Second track "Writhe" is mid-tempo madness that's angry in the best possible way; it makes you want to bang your head against the rotting corpse of an abandoned warehouse, raging against the bleak emptiness around you. Only the closer "The Sentinals" breaks this mold by turning it down a couple bpms and suddenly ending the album by pounding away at your psyche, leaving you lost and confused.

If you ever wonder if there's any great USBM you've missed in the past couple years and notice this gem isn't in your collection, do yourself a favor and add it.

[Go to the post to view the Bandcamp player]