Wolf: Feeding The Machine-2020.

Wolf is a Swedish heavy metal band from Örebro. Formed in 1995, the band has since released eight studio albums and toured with SaxonEvileTankard and more recently, Trivium.[1]

Wolf is a Swedish[2]heavy metal band from Örebro. Formed in 1995,[3] the band has since released eight studio albums[3] and have toured with heavy metal legends Saxon,[4]Evile[5] and more recently, Trivium.[6] In support of their seventh studio album Devil Seed,[7] released in August 2014, they toured the UK with Primitai[8][9] in early February 2015. Wolf once again teamed up with Primitai in 2019[10] to tour the UK before the release of their eighth studio album Feeding The Machine (2020).[2][11]

Discography:

Demo IDemo1995 
Demo IIDemo1996 
Demo 98Demo1998 
In the Shadow of SteelSingle1999
The Howling Scares Me to DeathSingle1999 
WolfFull-length1999
MoonlightEP2001 
Black WingsFull-length2002
Night StalkerSingle2002 
Wolf’s BloodSingle2004 
Evil StarFull-length2004
UnitedSplit2006 
The Black FlameFull-length2006
RavenousFull-length2009
Legions of BastardsFull-length2011
Devil SeedFull-length2014
Midnight HourSingle2020 
Shoot to KillSingle2020 
Feeding the MachineFull-length2020
Niklas Stålvind
Vocals, Guitars (1995-present)
See also: The Doomsday Kingdom, ex-Sentinel, Nu Jävlar!, ex-The Lightbringer of Sweden, ex-Slaughtercult, ex-Wolverine
Simon Johansson
Guitars (2011-present)
See also: Memory GardenSoilwork (live), Bibleblack, ex-Dion Fortune, ex-Fifth Reason, Nu Jävlar!, ex-Satariel, ex-Steel Attack, ex-Abstrakt Algebra, ex-Crystal Caravan, ex-Firegod
Pontus Egberg
Bass (2019-present)
See also: King Diamond, ex-Dark Illusion, At the Movies, Kryptonite, Tainted Nation, Treat, The Poodles (live), ex-Lion’s Share, ex-HammerFall (live), ex-Zan Clan
Johan Koleberg
Drums (2019-present)
See also: ex-Scudiero, ex-Animal, ex-HammerFall, ex-Lion’s Share, ex-Section A, ex-Therion, ex-Chris Laney, ex-Frontiers, ex-Silent Knight, ex-Talk of the Town, ex-Zan Clan

Past Members:

Daniel BergkvistDrums (?-2005)
See also: ex-Black Trip, ex-Honk the Horn, ex-Suckerfish
Joje LindskoogDrums
See also: ex-Wolverine
Mikael GodingBass (1995-2007)
See also: ex-Wolverine
Petter DenneviDrums (1995-?)
See also: ex-Wolverine
Henrik JohanssonGuitars (1999-2000)
(R.I.P. 2006) See also: ex-Marchosias, ex-Apostasy
Johan BülowGuitars (2000-2002)
See also: ex-Altar, ex-Chain of Hate, ex-Fallen Angel, ex-DreamGod
Johannes AxemanGuitars, Vocals (2002-2011)
See also: ex-Decameron, ex-Power Unit, ex-Seventh One
Tobias KellgrenDrums (2005-2008)
See also: Sacramentum, ex-Satanized, ex-Seventh One, ex-Soulreaper, ex-In Flames (live), ex-Decameron, ex-Dissection, ex-Swordmaster, ex-Nocrofobic
Anders ModdBass (2007-2019)
See also: ex-Tad Morose, ex-Grand Design
Richard HolmgrenDrums, Vocals (2008-2019)
See also: BlackworldVatika, ex-Haterush, ex-Soulskinner, ex-Vanessa, ex-Apostasy, ex-Scaar, ex-Grand Design, ex-Necromancer
Songs
1.Shoot to Kill03:40  Show lyrics
2.Guillotine04:04  Show lyrics
3.Dead Man’s Hand03:09  Show lyrics
4.Midnight Hour03:22  Show lyrics
5.Mass Confusion04:12  Show lyrics
6.The Cold Emptiness03:48  Show lyrics
7.Feeding the Machine03:51  Show lyrics
8.Devil in the Flesh03:18  Show lyrics
9.Spoon Bender03:26  Show lyrics
10.The Raven04:29  Show lyrics
11.Black Widow04:00  Show lyrics
12.A Thief Inside05:33  Show lyrics
 46:52 

1 Comment

  1. hells_unicorn, March 17th, 2020
    Written based on this version: 2020, CD, Century Media Records (Digipak)

    Any artist that opts to buck an existing trend will tend to do so out of individual initiative, as any movement will rarely begin with a comprehensive manifesto of intent. In the case of the now popular subset of metal music known as the New Wave Of Traditional Heavy Metal, many choose to name Sweden’s old school metal purveyors Wolf as its earliest progenitor. Born in the midst of the 1990s when their adopted style was considered the most unfashionable one under the sun, early interviews reveal a band that was out there to make the music that they wanted to make, being more indifferent to the post-grunge and nu-metal fads that were all the rage on the western side of the Atlantic than either hostile or amenable to them. Whether they intended it or not, their seminal studio work and commitment to getting the job done on the road, concurrent with the rise of the Gothenburg, Euro-power and black metal movements, became a consequential part of metal’s millennial renaissance.

    The formula at play in this band’s sound is arguably the most fitting of one initiating a new scene, whether intentional or not, as the mixture of influences is both historically specific yet also quite general in scope. Obligatory influences including the likes of Iron Maiden and Judas Priest during the early to mid-80s intermingle with the darker, more menacing yet still melodic end of the NWOBHM as exemplified in the likes of Satan, Hell and Cloven Hoof, and also the theatricality of Scandinavian heavy metal icons Mercyful Fate to manufacture a sound that is both hard-hitting and technically apt. The key element that brings all of these moving parts together is vocalist/guitarist Niklas Stalvind, who’s nimble and haunting howls could be likened to a perfect amalgam of Crimson Glory’s former impresario Midnight and Lizzy Borden. Through presiding over a revolving door of band mates that involved changing out the entire rhythm section just a year prior, his is a well-oiled machine that continues to deliver a consistent performance even after 25 years of blazing sonic trails.

    Some may have been distraught at the extended period of studio silence following 2014’s Devil Seed, but Wolf’s latest outing in Feeding The Machine leaves little doubt that these old school revivalists are far from laying down their arms. Wailing away like a series of air-raid sirens, the opening guitar sounds of “Shoot To Kill” pave the way for a swift, riff-happy anthem of rebellion that conjures up the early USPM sounds of 1986, yet is polished and massive enough to trade blows with the latest Primal Fear album. Similar fits of heavy-ended fanfare that merges the simplicity of the good old days when denim and leather were the order of the day with a modern production gloss include the punchy cruiser “Midnight Hour” and the speed metal-infused nod to Judas Priest “Devil In The Flash”, each fitting in as well with modern strains of heavy metal as with the retro sound exemplified in younger acts like White Wizzard, Skullfist and Riot City.

    Although the fast and furious offerings of this album are sure to be the prime draws for most of the metal faithful, this is a band that also knows how to mix things up and reach a bit further back into the style’s formative period. Though about as quick as the previously mentioned cookers, “Spoon Bender” exhibits a bit more of a mystical character that’s a bit more in line with the Eastern musical influences typified in some of Rainbow and Dio’s more experimental offerings. The gallop-happy and thudding crusher of a title anthem “Feeding The Machine” has a similarly off-kilter melodic character to it, though in more of a harrowing sense that dovetails with the mystique of early Mercyful Fate. But the most auspicious of quirky left-turns into more musically nuanced territory is the almost jazzy, up-tempo slayer “Black Widow”, which again conjures up comparisons to King Diamond’s original band, combined with a bit more of a driving, USPM feel that isn’t far from Helstar or Omen territory.

    To say that the sizable collection of fans that this outfit has accrued over the past couple decades will be well satisfied with this album would be an understatement. Rather than hitting an expected speed bump upon taking on a new bassist and drummer, Wolf has returned stronger than where they left things six years ago, offering up a higher impact musical affair that is sure to have a healthy degree of crossover appeal in German speed/power metal circles as well as the smaller remnant of USPM fans who remember the good old days when Queensryche was playing actual metal with Geoff Tate at the helm and Fates Warning wasn’t trading stylistic blows with Dream Theater. The formula is naturally a bit more streamlined than what those bands were dabbling with in the mid-80s, consisting mostly of three to four minute songs with standard structures, but no expense is spared in the aggression department and the assortment of hooks and grooves interwoven into the old school heavy metal tropes have no shortage of staying power.

    Originally written for Sonic Perspectives (www.sonicperspectives.com)

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