Lonewolf
The Fourth and Final Horseman
Released: July 2013
Power Metal
Released via Napalm Records
The Fourth and Final Horseman is a valiant effort from French power metal powerhouses Lonewolf. At times reminiscent of other fully fledged champions of the genre like Sabaton, or indeed legends such as Manowar or Blind Guardian, they also promise variety and versatility with tinges of Children of Bodom, Wintersun and even the late, great Bathory. However, this variety never fully manifests, and it’s something that lets the band down here.
Don’t get me wrong, in the long run, I think TFAFH is a cracker of an album. Jens Börner’s often criticised vocal style actually works in their favour, in my opinion; his voice is intensely gravelly, very throaty and I can understand why it puts people off, but I think it elevates their sound beyond the normally ultra-slick and squeaky clean production of most power metal bands and adds a heavy, gritty edge to their music. Of course there is a major Running Wild influence throughout but Lonewolf get too much flack for this and I think it’s time we accepted that, and moved on!
There are some fantastic tracks on offer here. Opener and title track ‘The Fourth and Final Horseman’ is a strong start, with a simple, repetitive and infernally catchy chorus that will get stuck in your head for the rest of the day- a formula Lonewolf tend to stick to throughout the rest of the album! Here, Börner and guitarist Alex Hilbert definitely show off their virtuoso capabilities with spiralling guitar harmonies; again, a formula they will stick to. Most of the time, this faithful adherence to this tried-and-tested method of song writing doesn’t detract from their sound, and I am tempted to say if something works, then by all means go for it! It works well in tracks ‘Hellride’ and ‘Time for War’, for example, but leaves ‘Throne of Skulls’, ‘The Brotherhood of Wolves’ and ‘Guardian Angel’ quite uninspiring.
Where TFAFH reaches its most impressive heights for me is in the tracks that promise echoes of something more; those hints of variety that I mentioned previously. ‘The Poison of Mankind’, for example, starts very strong with an almost cinematic, choral tinged opener that slowly builds into a stomping tune that eventually reverts to the usual Lonewolf formula, but still maintains that atmosphere created by the start of the track. A similar effect is achieved in ‘Dragonriders’, with its almost Celtic, folk-tinged melodies and in album closer ‘Destiny’, in which a slow, almost acoustic feeling promises a brooding and atmospheric closer before it once again falls into simply another stomping, energetic power metal track.
Don’t get me wrong; their formula works, and I don’t think any of the songs on this album are bad; on the contrary, they are impressively energetic, and good all-round metal songs with more than a tinge of the retro. I just wish they had the balls to stick with the slower, more melodic and quieter elements sometimes! This is why the standout track for me, by far, is the only one in which they manage to maintain that epic, melodic atmosphere throughout, and that is in the Bathory-esque ‘Another Star Means Another Death’. Change the vocals and it wouldn’t sound that out of place on Hammerheart or Blood Fire Death. It begins with a beautiful, brooding, slow burning melody that quickly builds into heaviness but manages to keep that brooding atmosphere bubbling throughout.
Overall, there is some fantastic guitar work going on throughout this album, and I enjoyed most of it. However, I can’t help but think that Lonewolf would silence their critics if they only managed to shake things up a bit, and show off the versatility that is so blatantly hiding under the surface. Having said that, I do think that this is a good album and a must for any fan of power metal, and I even think that this would be a good choice for those that don’t usually dabble in the genre. A good effort; I just want to see more variety on the next album.
3/5
Hannah O’Flanagan
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