Review: “On the Earth, Under the Sky” by Wildeornes

Billed as something of a double concept album “On the Earth, Under the Sky” is said to continue the lyrical exploration of Eastern and Western existential philosophy, deep ecology, and Celtic, Anglo Saxon and Norse mythologies as Australians Wildeornes (pronounced wilderness) live by the code of go big or go home. Their fourth album, it is effectively split in two with the first five cuts being brand new and the final three being reworked from their last burnt offering “Gæð wyrd a swa hio scel…“, written and recorded on the lands of the Waddawurrung and Boonwurrung people of the Kulin nation. Tracked and mixed themselves, they have credited Dav Byrne (Witchskull, Shatter Brain, Excarnate) from Iridium Audio with production and mastering and Kieran Tyrell (Fallout, Demon Other) with the artwork that adorns their offering.

For those unfamiliar, Wildeornes formed in 2009 as a recording duo of Damien Vennell and Richard H. Hammond, both with prior convictions going back to the early 90’s in Ballarat Hardcore and Grind bands Without A Reason (WAR) and Peanut as well as Stoner Doom outfit DownRiver. Here they explore the overlap of epic Black Metal, Atmospheric Doom, and epic Traditional Heavy Metal with influences in Black Sabbath and Judas Priest as well as Bathory and Candlemass.

The Black and Doomy Metal onslaught begins with “Mouth of the River“, a powerful cut with an Old School vibe that is a little rough around the edges, as if recorded live. Fleeting moments of Black Metal pierce the veil in the kit work while mid tempo chugging guitars place the band somewhere between Down and Jesse Leech project Seemless as they cross the borders between Sludge and Stoner Metal with verve and swagger. Having used that cut as something of a pace setter, the epic approaching 10 minute title track “On the Earth, Under the Sky” surfaces, captivating with longer instrumental passages, a pair fire breathing solo appearing in the eye of the storm. There is an undeniable groove upon which the pair ride, throwing nuances a plenty into the cauldron as they do so. Those then appear like rats in the maze over multiple listens, the folk inspired riff that plays out being the kind of thing that is more often found in Scandinavian lands but that really adds to the feel of this. Bluesy and soulful, “Block Out the Light” quickly adds to the weight of evidence that this offering could have surfaced at any point in the past 40 years and gone down just as well. The bands sound is nothing short of classic, to the point that this cut could have appeared on the soundtrack to “School of Rock” with Jack Black getting down to the groove. It strikes the perfect balance between Hard Rock and Traditional Heavy Metal, separated by a cigarette paper in chug and thunder fashion and for that the duo deserve a lot of credit.

A third of the record in “Under Oak” summons the spirit of Hendrix with what sounds like improvised soloing over warm synths that create space age feel in a near nine and a half minute cut that doesn’t bring in the drums until the third minute or the vocals until mid way through the fourth. It’s a powerfully epic beast, a statement piece of musicianship that says “we do it our way and to hell with your three minute radio requirements“. Dirge laden groove keeps the engine running while the leads bleed flamboyance without going too far, meaning its hard not to be carried away in the smoke from the fretboards. That makes way for the rich acoustic melodies of “The Sons of Muspell Ride” which has a little electric guitar lead thrown in to lift it up in the first third before going all out as it flows into a full on epic Traditional Heavy Metal monster. Breath taking and majestic, it is full of endless slow head bang worthy riffs for worshippers who will want to raise a poison chalice to it and drink in reverence. The twist in the tale comes with the first of the reworked older cuts as “The Longest Night” dials up the heavier tones the band have to offer, firing both barrels with Black Metal kit work and Corrosion Of Conformity like riffs. It sounds monstrous in comparison the the earlier cuts initially, as if you’ve been zapped into the work of another band and like a white knuckle ride, you simply can’t let go. In truth what the duo have done is inject new life into these re-recorded cuts and they sound rejuvenated as if give a fresh coat of paint.

The Stoner Metal leaning “Ride the Abyss” is a classic driving tune you can put the pedal to the metal to as it crushes the sound system, the endless high quality of the riffs being spellbinding as they give bands like Scuzz a run for their money. For the vast majority of the record the band have used clean vocals, the uncleans of “White Caps” are pleasure, adding a darker undercurrent to another monstrously huge sounding beast of a cut. The drum sound is massive, the riffs run and run with constant innovation and the tune never gets old. It has to be said that an album of this length rarely manages to do what this one does and be all killer, no filler however, while the album is very much in two distinct halves, Wildeornes have chosen the right cuts to make sure it flows like a waterfall into a lake below. “Despite, Not Because” brings the curtain down in electrifying fashion with the kind of jam room riffs that make the hairs stand on the back of the neck; like a page turning thriller it’s simply impossible to put down… [8/10]

Track Listing

1. Mouth of the River
2. On the Earth, Under the Sky
3. Block Out the Light
4. Under Oak
5. The Sons of Muspell Ride
6. The Longest Night
7. Ride the Abyss
8. White Caps
9. Despite, Not Because

“On the Earth, Under the Sky” by Wildeornes is out 30th April 2023