Review Summary: A fully "post" metallic record.
After the torrent of emotions that was last year, 2021 sees a few of the “post-y” black metal bands coming out of their cocoons as shoegaze acts. Even former cybergrind outfit Genghis Tron took a sharp turn into the territory. The unspoken obvious here are stalwarts Deafheaven, who’ve lit fires on both sides of the argument whether this is a positive progression. With a few singles already released from DH’s new record, it’s still in contention whether it’ll be as hotly received as the band’s heavier material.
Lantlos have made probably the longest but most recognizable shift towards more melodic material. This perhaps goes to why they also seem to be the most successful with it. Former vocalist Neige’s project Alcest stripped the shrieks from its arsenal long ago, favoring a more ambient and folk-tuned approach. On 2014’s Melting Sun, now-sole Lantlos member Markus Siegenhurst, also known as Herbst, showed he was willing to do the same. The blast beats and shearing tremolo lines were still there, and the occasional fistful of distortion, but only as accompaniment to the more lofty melodies. With its bright neon cover of sunlight bursting through a fluid face, Melting Sun delivered its promise of juicy and lush, but only tangentially resembling the fierceness of albums like .neon.
With Wildhund, Lantlos has fully shed any semblance to recognizable “post-black metal.” There’s a heaviness present, especially towards the front of the album, but neither from blast beats or distorted guitars. Instead, “Lake Fantasy” opens with a math-y riff which should lock your neck into a groove immediately. The bulk of the weight comes from the beautifully clear bass, rumbling beneath.
The syncopated guitar melodies uphold throughout, with the bass making itself a hearty home in the foreground. “Home” opens with a bouncing, sunny lick before falling into thunderous bass dancing. Less heavy like a spiked fist, and more heavy like your eyelids while lying in an open field of grass.
As a one-man project, Siegenhurst has clearly polished his skills at the instrumentation. Guitar, bass, and drums all work in equal measure to hold each song together, and despite only claiming vocal duties for the last two records, he has the chops to perform. The vocal layering and massive outro on “Vertigo,” mixed with its grungy riffs, makes out like a blend of Soundgarden and Deftones.
Ultimately, Lantlos have been at the TRULY melodic black metal game for longer than most (re: Deafheaven) so they may be at an advantage, but Wildhund was already miles ahead of other records going this way with just the singles, and as a 51-minute whole it’s a beautiful, bursting example of what post-metal can be if one isn’t afraid to fully flesh out what “post” can mean.
