Review Summary: Not reinventing the wheel, but refining it.
Admittedly,
Eulogies, the fifth full-length album from Christian metal quintet Wolves at the Gate is not trying to reinvent the wheel. Many of these thirteen tracks follow a similar structure where screamer Nick Detty has a field day shredding his throat throughout fierce verses and an occasionally punishing bridge while lead singer and rhythm guitarist Steve Cobucci routinely tugs on heartstrings with his steady crooning when the inevitable stadium-sized choruses break out. Although Wolves at the Gate frame almost every song around a tried-and-true modern metalcore foundation, the band builds upon each base with clever songwriting devices which make a majority of these songs more catchy, dynamic, and engaging than a first listen might convey.
From the soaring “whoa-ohs” in “Lights & Fire” which rival any boisterous crowd at a Thirty Seconds to Mars festival appearance in the early 10’s to the hushed, poignant piano marking the final fleeting moments of “Out of Sight”, Wolves at the Gate have just about mastered the art of crafting memorable songs that leave an impression somehow greater than the sum of their parts. Arguably at their most radio-friendly, “Kiss the Wave” features a rapid cadence during the chorus by Cobucci, more “whoa-ohs”, and tasteful handclaps punctuating the bridge – these experiments should not work on paper, yet they do. Hell, by the time the last quarter of the album unfolds it would be understandable to think Wolves at the Gate had run out of sonic tricks. Yet, when the urgent, punky refrain of “White Flag” bursts from the speakers surprised listeners could justifiably wonder if they are hearing a long-lost b-side from Story of the Year’s
In the Wake of Determination – and quite frankly, “White Flag” is only one of a few more twists and turns left for listeners before
Eulogies fades away.
Nowhere is Wolves at the Gate’s promising songwriting more exemplified than on the gripping title track and the anything-but-silent closer, “Silent Anthem”. Erupting with Detty’s high screech, the verses of “Eulogies” combine desperate screaming with group chants before the quintet slips into an undeniably epic chorus featuring Cobucci’s soaring tenor and bassist Ben Summers’ complementary backing vocals filling in the gaps while strings flutter overhead. Just when the song seems out of steam once Detty’s piano creeps into the bridge, the band erupts into a stirring call-and-response before the song culminates with a final extended chorus replete with heartfelt screams. “Silent Anthem” is a case of two distinct halves that create one stunning conclusion. Up tempo, tense guitars and Detty’s unbridled howling introduces the anxious first half before giving way to an urgent chorus with Cobucci straining,
"My heart still echoes the words/You burned inside that are endless/The anthem of Heaven". Eventually, the piece slows to a standstill before the band suddenly reemerges for a final powerful outro of driving guitars and pummeled drums with Detty screaming and Cobucci singing,
"Worthy is the Lamb that was slain" repeatedly while fading into silence.
While a majority of the songs on offer showcase the Wolves at the Gate maximizing their musical potential by marrying soaring, melodic choruses and urgent, blistering verses, a few tracks attempt to flex the songwriting in a heavier direction with ultimately underwhelming results. “Peace That Starts the War” stumbles out of the gates with hushed, whispered verses and an ending breakdown that sounds forced instead of necessary. “Weight of Glory” is a two-and-a-half-minute knuckle-dragging hardcore romp which ends up being far more harmless than initially thought. Finally, “Deadweight” goes through the motions, does not offer anything noteworthy, and can only be considered unremarkable. All three tracks could be removed from the track listing and
Eulogies would be better off for it. Wolves at the Gate are at their best when penning melodic, heartfelt songs coupled with flashes of aggression that magnify the emotion, not suffocate it.
Once again, with
Eulogies, Wolves at the Gate are hardly reinventing the wheel, merely refining it. Yet, what these songs lack in inventiveness, redeem themselves with convincing emotion, mesmerizing melodies, and slick songwriting touches. Those unbothered by the outfit’s faith-based message will only find more to like the further one delves. With
Eulogies, Wolves at the Gate have crafted an album that is shockingly varied, entertaining, and fulfilling despite its glaring flaws.
