Wolves In The Throne Room are back, and they’ve done so in style. The fact that they took longer than usual to return should already tell you something, but let’s take things one step at a time.
Brothers Aaron and Nathan Weaver are pioneers of Cascadian black metal, a branch of American black metal that has developed its own identity through a more melodic, atmospheric, and ritualistic sound, as well as lyrical concepts centered on nature and its role as the ultimate mother of civilization, with all the roots that bind humanity to it on a visceral level.
Their previous releases, including Primordial Arcana (2021) and Thrice Woven (2017), as well as their earlier works, particularly Diadem of 12 Stars (2006) and Two Hunters (2007), embody all these defining characteristics. With their new album, Estuary, however, the band ventures into more elaborate sonic territory, preserving the essence of Cascadian black metal while incorporating industrial influences, gothic atmospheres, and more varied, ritualistic vocal passages.
The title track opens the album with enveloping guitar riffs and a gradual build-up that alternates between solemnity and ferocity, immersing the listener in a desolate, untamed landscape. Its more ethereal and unsettling conclusion leaves behind an aura of mystery, making it the perfect introduction to the album’s overarching concept. Knights of Tiamat kicks things into high gear with blistering blast beats, razor-sharp riffs, atmospheric interludes, and almost ceremonial-sounding chants, combining sheer aggression with melody without sacrificing its epic grandeur. Foretold in Reflections, on the other hand, showcases the album’s more hypnotic and contemplative side: nearly ten minutes of guitars weaving dark sonic tapestries. At the same time, the percussion moves forward like an ancestral ritual. Perhaps a little too long, but captivating in its depth and atmosphere. The Orca Cliffs takes a more cinematic approach, conjuring images of wind-battered cliffs, vast oceans, and sprawling forests through tremolo-picked riffs, evocative keyboards, and sudden melodic flourishes. Ghosts Among the Obelisks is the album’s most complete offering, blending melancholy with a martial drive and sudden bursts of violence. The slower passages lend the track a monumental quality, while the finale, with its progressively intertwining melodic lines, delivers a genuine sense of transcendence. Finally, Wretched Spirits, Land of Light brings the album to a close with a dark and solemn atmosphere, alternating abrasive riffs, driving rhythms, and melodic openings that seem to hint at the possibility of rebirth after destruction.
With Estuary, Wolves in the Throne Room accomplish something that might seem straightforward but is, in fact, anything but: reinventing their sound without abandoning their atmospheric black metal roots. The increased presence of industrial and gothic elements makes this clear. Yet, the band’s attention to melody remains as strong as ever, reaffirming that the Olympia-based outfit remains firmly rooted in its own identity. Perhaps a few passages could have been trimmed to avoid unnecessary repetition, but that does little to diminish the certainty that Estuary is one of the most compelling entries in their more recent discography.
