Review Summary: An indisputably unique and refreshing album that manages to shine through the clichéd and staling outputs of contemporary folk metal bands.
America seems to have largely rejected the folk metal offerings of its European brethren. While tours from bands such as Eluveitie and Moonsorrow continue to reign in new supporters, the metal scene has rather ungraciously refused to offer any of its own creative input. Until now, everyone assumed that it was for the best. After all, why would anyone want the wretched country that spawned the likes of Avenged Sevenfold and Disturbed to be the party pooper and spoil the genre for everyone? Upon this realization, American folk metallers heaved a collective sigh and started packing their bags for Finland. All of them, that is, except for a select four Bostonian musicians who decided that it was time to give America the kick it needed to join the fun. Enter Wilderun, whose debut album "Olden Tales & Deathly Trails" is easily one of the most unique and underrated offerings in recent memory.
It's impossible to accurately compare Wilderun to any other folk metal band. While the inclusion of overly catchy hooks, traditional instruments, and swirling orchestrations has been battle-tested by many a European folk metal group, Wilderun manages to stay relevant due to one omnipotent factor: their songs are derived from traditional American folk tunes. Though antiquated Bostonian music holds many similarities with that of Ireland and the Celtic people, Wilderun manages to keep everything fresh and exciting. The swashbuckling, maritime verse of "Storm Along" and the sing-along chorus of "The Coasts of High Barbaree" demonstrate the forgotten allure of traditional American songs at work, becoming trapped in your mind more forcefully and pleasantly than any mainstream pop song could ever hope to. It is an idea that most European bands have simply forgotten. Rather than rehashing Iron Maiden riffs with a few altered notes to make them sound more like an inclusion on the "Braveheart" soundtrack, Wilderun manages to tap into a very real and primal musical force which truly makes the listener feel in touch with those of historic days and "olden tales."
Despite taking a distinct and new approach to folk metal, the group manages to retain all of the characteristics that made the genre so enjoyable to begin with. The galloping hooks of "Vaunting Veins" and "The Coasts of High Barbaree" draw forth memories from the "Iron" days of Ensiferum, while the black metal guitar soliloquy towards the end of the former will throw a bone to "Bergtatt" era Ulver fans. Guitarist Wayne Ingram's intricate orchestral pieces are among the most perfect I've heard in a folk metal album; they are noticeable, catchy, epic, and exhilarating, though surprisingly tactful and reluctant to dominate the other instruments. Rather than the unavoidable Viking yell or power metal operatic wails, frontman Evan Berry sings in a rather reserved, emotional manner, very similar to an unpolished Mikael Akerfeldt. Though fitting much of the album, especially in the slower and softer passages, they can sometimes seem monotonous and lacking conviction when the tempo is increased. Luckily, his monstrous death growls save the day, providing a perfect contrast to the often uplifting themes of the album and dramatically boosting the intensity and pain of the not-so-uplifting themes. Overall, the main instruments are predictably unremarkable, though that does not detract from their effectiveness in the slightest. Indeed, it merely shows that this is a band set on crafting the most perfect songs they can, rather than indulging in the talent of one member.
No folk metal band is complete without their folk instruments, and Wilderun is no exception. Throughout the album, the mandolin, autoharp, and hammered dulcimer are all used to respectable effect, despite being admittedly thrown in at the last minute. This statement is quite obvious when listening to the album, however. The folk instruments serve little purpose rather than to replace an acoustic guitar passage or augment an orchestral section. With that being said, their presence is not detrimental to the music, but they should be more carefully thought out and more effectively placed in the future.
Special mention must be given to the thirteen-minute long final track of the album, aptly-titled "The Dying Californian". Through the sweeping and grandiose instrumental arrangements and the mournfully heartbreaking lyrics, this has easily become one of my favorite songs of all time. Arranged from a traditional folk song of the same name, the lyrics illustrate the last will and testament of a man as dictated to his friend, and dwelling on memories of the loving embrace of his family as he lies dying. "Epic" doesn't even begin to describe this song. Though not as orchestra-heavy as other tracks, it is crushingly heavy and chillingly emotional, creating grandeur rarely seen in folk metal anymore. Few songs have ever driven me as close to tears as this one, and I simply cannot recommend it enough. Even though there were many releases from far more established acts in 2012, this song is perhaps my favorite track of the year.
Wilderun's debut album is an undeniably exciting offering, creating exceptional folk metal that breathes life into a dying genre. While it was largely ignored by the worldwide metal scene, it has proven itself to be the first true American endeavor into the wilds of folk metal, and perhaps one of the most unique releases within the genre in several years. Though the American folk metal scene is merely a spark at the foot of a campfire, Wilderun will be hailed as one of the most important and influential groups in the country if the spark ever manages to take hold and the inevitable inferno should unfold.