Photos: Morten Aagaard Krogh (mortenkrogh.com)
Wolves in the Throne Room are known for their singularly long, meditative takes on the black metal genre, infused with concerns with mysticism and the moody landscapes of the Pacific Northwest. The kind of band who wouldn’t be out of place on a rainy Wednesday at Twin Peaks’ Roadhouse, or, in this case, a windy Wednesday at Loppen. Originally scheduled to play Christiania’s other larger venue, Den Grå Hal, their loss is our gain, as Loppen allows the audience to get within hair-whipping distance from the band.
We arrive just in time to catch the second opening act, Orm, whose double vocals–one a deep death metal growl, the other a higher-pitched black metal howl–would seem a little gimmicky were they not accompanied by some very tight playing. Their debut LP also has one of the gnarliest covers I’ve seen in a while, a tasteful landscape including a full moon, a stormy and kraken-infested sea, and a castle on fire. I really want that on a mug.
WITTR arrive on stage prepared to create their own atmosphere, complete with ambient soundscapes and burning incense (picture below, although that could also be the most badly-rolled blunt ever photographed). But these are just garnishes, quickly overshadowed by the intensity of the playing. As their recently re-released debut proves, what truly distinguishes the band is their ability to generate atmosphere out of distortion and obsessive double-kick drums.
Tonight, the band starts at the beginning, with “Queen of Borrowed Light”, the opening track of their debut. It’s a solid introduction to the band, and one which eschews most of the atmospherics in favour of doubled-up soaring guitar riffs. It’s odd, but the real meditative moments, that is those that focus attention, are created not by slower tempos or lower volumes, but by stretching out the most intense moments. At a certain stage the lightning-fast tremolo picking begins to sound more like a long continuous tone than many shorter ones.
As our very own Morten put it, behind all the theatrics there is an unmistakable post-rock side to WIITR, moments when they sound closer to Mogwai (but without the sarcastic song titles) than Mayhem. Which, rather than being a criticism, is actually the reason we like them in the first place.