ALBUM REVIEW: Eclipse – Wolves At The Gate

Over the past decade, metalcore has seen a glacial shift in style, with bands often becoming more melodic, more progressive and willing to explore avenues beyond traditional stereotypes. This is evidenced by the likes of ARCHITECTS, BEARTOOTH and even in the more recent works of UNDEROATH. Perhaps residing in the shadow of some of these bigger names, WOLVES AT THE GATE have followed a similar path, opting to dispense a comparable sound in their quest to spread their message of faith in God and views on coming to grips with social, political and personal issues. The outcome is a melancholic album that dives deep with an invasive approach, offering a learning experience as much as one of a sonic nature.

Eclipse will mark the fifth full length release from WOLVES AT THE GATE in only eight years, which is a level of creative output that has to be admired. The Ohio quintet has long since yielded a heavy blend of ‘Christian Metal,’ coupling engulfing breakdowns with melody and anthemic atmosphere. This can be heard right from offset with album opener The Cure, an all together well written track that sees flowing clean vocals glide alongside more grating screams and life-sized guitar passages. 

This pattern continues into Face To Face, with subtle chug blossoming into sing along choruses and a breakdown that could be pulled straight from the ARCHITECTS locker. If anything, the opening section of the album is tasteful, and although unlikely to win much acclaim for originality, neatly executed musicianship warrants listening further. With that thought we are led into A Voice In The Violence, a heartfelt plea for help that utilises synth and rhythmic drum patterns to create an emotive lull. The vocals continues to swoon, and Steven Cobucci uses melodic guitar tone to create a dull ache – impassioned music that speaks as much for itself as the lyrical matter does.

A similar clinical execution is employed through Drifter and Enemy, with WOLVES AT THE GATE continuously dipping their toe in and out of metalcore framework, at times stepping back towards more alt-rock influence. It is in these tempo changes that they find their distinctiveness. Comparison with other bands will always be difficult to avoid, but in flirting with a variety of sonic outputs, they may well just strike a chord in the listener. Evil Are The Kings takes a political standpoint, again baiting us with easily digestible vocal hooks and a methodically layered instrumental backdrop.

Eclipse was named due to how well the word encapsulates the relationship between light and dark. This concept is reflected in the themes surrounding the album, but also stylistically. For example the title track feels bright and airy, while excerpts like The Sea In Between feel much more calamitous. Looming, ominous and telling of impending mental pain, these tenebrous corners of the record are juxtaposed against the freeing, and it makes for an ever more interesting listen.

With this record, WOLVES AT THE GATE may not be leading the charge in the fight for worldwide metalcore domination, but they certainly have found themselves and expressed that notion with flair and a fine polish. After showing us through Alone, Counterfeit and Blessings & Curses to close the album, the band can confidently add ‘dexterous consistency’ to their CV, having sculpted an album that holds it’s quality throughout. Perhaps they are underrated, or perhaps it is telling of how competitive the industry is, but gut feeling shows that after five records, WOLVES AT THE GATE probably deserve to be a little higher up the ladder than they are. Thankfully though, they continue to fight, and Eclipse will take pride of place at the forefront of a glowing discography.

Rating: 7/10

Eclipse is set for release July 28th via Solid State Records.

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