Oh, Black Metal production values, why do you do this to me? I’m not sure if it started with the proto-Black Metal of Venom, or if it’s a holdover of the second wave of that overtook Norway in the early 1990s, but it’s still here with us. It’s certainly all over Wolvhammer’s latest punisher, The Monuments of Ash & Bone (Blood Music).

To the average, Satan-fearing corpse painter this is reason to rejoice. Just keep stacking the grim, frostbitten and ugly sounds until they’ve blocked out the sun and life as we know completely ceases to exist. This lo-fi is more style may be the appeal to some, but on The Monuments of Ash & Bone it can lead to diminishing returns. Wolvhammer’s output is downright ferocious most of the time, but production values and mix (or lack thereof) shave off the potency of songs like ‘Eternal Rotting Misery’ and ‘Law of the Rope.’ Let us examine the latter, which is loaded with buzzing tremolo riffage, blast beat flurries and a ripping guitar solo, but is hampered when the snare drum is bordering on inaudible.

Wolvhammer mostly overcomes this sonic hinderance when they force the songs deep into the red like in the punk infused ‘Dead Rat Rotting Raven.’ Because the album doesn’t overstay its welcome, I wouldn’t have minded another punk injection or two. While I really enjoyed the blitzkrieg, I noticed that Wolvhammer may also have a knack for melody and contemplation. The mellow and measured march of album closer ‘Solace Eclipsed’ is something they might need to revisit in future recordings.

And before we part, kudos to vocalist Adam Clemans who somehow balances handling the demonic vocals for both Wolvhammer and Skeletonwitch all while sounding like the most ferocious instrument in the room. I worked my way through 7 lozenges just listening to the man.

The Monuments of Ash & Bone, a Black Metal album that could’ve benefitted from being less Black Metal.

7.0/10

HANS LOPEZ