Following the somewhat peculiar, yet universal pattern of how a post-rock band comes into existence, also the Tallinn-based WOLFREDT originally started as a one-man bedroom project, only to evolve into a full-blown 4-piece instrumental outfit later. Drawing influences from the cinematic and atmospheric sound of bands such as LONG DISTANCE CALLING and TIDES OF NEBULA, as well as from the more riff-driven acts, such as RUSSIAN CIRCLES, their fourth album, “IIII,” was released already in April 2023, but it managed to slip past my radar – until now. Weaving highly melodic and evocative soundscapes, WOLFREDT‘s new effort quickly provides ample proof that the band is a worthy addition to the pantheon of quality post-rock acts. The previous, conceptual outing, “Tides,” released in late 2020, already seemed to stir some international attention in the band’s favor; now, this new endeavor builds upon that solid foundation of soaring guitar melodies, ambient textures, and robust grooves in such a way that this bunch is bound to make lots of new friends.
“The Seer” sets things in motion by implementing the tried-and-true post-rock formula: adding new elements, layer by layer, forging the song into a crescendo of emotions. So, yeah, there’s nothing new from the Western front of the post-rock world but, then again, why fix something if it isn’t broken? In the band’s defense, it must be said that their sense of melody and groove is outstanding – the latter, in particular, seems to be the stumbling block for quite a few up-and-coming post-rock outfits but here, there’s nothing to worry about. In fact, the grooving in the opener resonates with the subtle air of that lovely indie-rock conduct of such vintage bands as MY BLOODY VALENTINE and early THE SMASHING PUMPKINS. In fact, the follow-up track, “Under the Spell,” plunges even deeper into the 1990s – with a tad more lethargic tempo, we could be closing in on grunge.
Next, the course is steered back into the post-rock realm. “Terra Nullius” weaves an intricate tapestry of wailing guitar sweeps, glockenspiel, and guitar arpeggios, all drenched in an immersive reverb – and an ocean of distortion toward the end of the song. The band likes to call their sound “progressive post-rock,” which is quite an apt description; especially on this track, WOLFREDT seems to have a fondness for playing around with tempo changes – a trait more common with proggy outfits of all sorts. Plus, the song throws in a bit of hardcore screaming which, in turn, leans perhaps more toward the sludgier end of the post-rock spectrum, if not metal altogether. Well, the album was mixed by Magnus Andre, who is best known from the Estonian doom act, TALBOT, and mastered by Magnus Lindberg of CULT OF LUNA.
This new selection of songs is markedly guitar-driven, quite obviously, but one of the most haunting tracks on the album does not feature guitars at all; “Oh Brother” is a dark, minimalist piano piece with a very simple chord progression that repeats throughout the song – but the way this motif gathers emotional momentum due to all kinds of little tricks over the course of 3 minutes makes it a standout track on the outing, one that even DEPECHE MODE, Trent Reznor, or Nick Cave could be jealous of.
The lengthier epics are saved last, as per conventions of the genre, separated by the psychedelic riffathon, “Assegai.” There’s a peculiar lysergic and grungey vibe to this song; in fact, it could have easily fitted either on “Superunknown” (1994) or “Down on the Upside” (1996) by SOUNDGARDEN as one of those freaked-out, experimental tracks.
The first epic is entitled “Skeleton Key.” The song is a languid 7-minute journey into sound. The aural floating is interrupted only by a few choice power-chord accents, here and there, and, halfway into the song, I got a spine-chilling CASPIAN flashback, so it goes without saying that these Estonian post-rockers sure made a good and lasting first impression. The guitar motif starting around the 5-and-a-half mark is stupidly simple but still, it gives you goosebumps if you’re not careful. Yes, this bunch sure knows how to ration those pastoral melodies and powerhouse riffs just perfectly.
The album closes with the slow-burning song, “The Original Android,” which mixes the indie-rock aesthetics of ARCADE FIRE and the full-on-riffing policy of RUSSIAN CIRCLES – and squeezes the outcome through the prism of their signature sound machine, creating a highly plaintive finale for the selection. Considering the song does not offer much in the way of novelty – you have probably heard this sort of post-rock conduct gazillion times already if you have dug in the genre’s record crates at all – there is just that ”something” that can hold you rivetted for 7 minutes straight. The same holds true for the whole album. It is truly a beautiful sonic journey well worth a listen.
Written by Jani Lehtinen
Tracklist
- The Seer
- Under the Spell
- Terra Nullius
- Oh Brother
- Skeleton Key
- Assegai
- The Original Android
Lineup
Margus Voolpriit – guitars
Andres Soosaar – guitars
Pertti Johanson – bass
Kallervo Karu – drums
Label
Independent
Links
https://wolfredt.com/album/iiii
