Is it worth acting for the good of “the people” when you’ve so thoroughly experienced the sickly ignorance of the herd? What could curtail the malleability of hive-minded thoughts and delusions upheld by tradition? Are you such an important shepherd, or, one particularly potent drop in the proverbial bucket? Boise, Idaho-based melodic black metal band WEALD + WOE appear to be breaching this subject on their third full-length album, a potential response to the steadfast toiling of their last. A fine example of self-directed exposition by iteration ‘Far From the Light of Heaven‘ smartly recaps all of the reasons one might know their name today: Folk and heavy/power metal incensed melodic black metal style directed by way of slow-dancing lead guitar voicing. In the process of curating something more refined and collectively sourced in its conception we find a very practical, well-contained third item which becomes somewhat lost for words outside of its most familiar semblances.

Weald & Woe began as a “bedroom” black metal project back in 2018 by way of Jeff Young aka Artos, who is best known as the fellow behind heavy/power metal band By Fire & Sword, with his work approximating some general interest in melodic black metal to start. Between a largely unnoticed demo (‘Eternal Grave‘, 2018) and a debut LP (‘The Fate of Kings and Men‘, 2020) which I’d bought and reviewed at the time his work (via an increasing band of folks) was reasonably interesting in its combination of groovier, off-kilter takes on classic black metal guitar tropes… and the occasional piece taking heavy inspiration from Obsequiae. The second album (‘For the Good of the Realm‘, 2023) from the (then) quartet was equally messy in its construction yet tuneful and varied to a greater degree, altogether more capable. While I’d appreciated all that their sophomore album did to expand upon the original’s broader concept and tone it was clear by then that the folken, power metal trotted version of melodic metal they were brewing was getting most of its attention for its likeness to another. In this sense ‘Far From the Light of Heaven‘ almost appears cynical as the first half leans into this style before developing some of its own ideas in the second half.

The harshest and most honest knee-jerk reaction to ‘Far From the Light of Heaven‘ anyone could serve is something like “bootleg” Obsequiae with metalcore vocals and heavier NWOTHM influence and this was more-or-less my first thought as I’d approached the first three or so songs here. While I wouldn’t necessarily ever soften on my distaste for this type of all-or-nothing approach to vocals and their lack of any reasonable nuance (there are some lower set growls interspersed) the mid-paced power metal trample and focus on inspiring dual lead guitar melodies quickly proves entertaining. If you are an enduring fan of say, ‘Triarchy of the Lost Lovers‘ (see also: “Radiant One”, “Stars That Guide the Slain”) and find very little that exists in that exact vein I’d suggest this band’s discography continues to reflect some of those slow-burning melodic metal ideals with relation to mid-paced melodic black metal and traditional heavy metal.

“Brought to Ruin” emphasizes everything I like and dislike about the Weald & Woe experience in this sense with its kinda forced-to-eleven vocals and adventurous rhythmic step: The tone is strained, less than emotional and out to invoke high fantasy muse. Beyond that point I’d say a song like “Warchild” could represent the early falling off point for many as it is the first of a few to make jolly noise of it all per the occasionally twee feeling jogging lilt of their action. The leading riff is a solid adventurer-worthy trot and speaks the the folken heavy metal taste of these folks but the “meat” of the song should send the average well-explored black metal aficionado voiding their bowels and skittering away, not out of fear but disgust for the maypole dancing glee witnessed. The first four songs here (Side A) generally focus on the strength of Young‘s lead guitar interest but this is a familiar, known quantity. Otherwise it is the consistent voice of ‘Far From the Light of Heaven‘ ultimately reads as its most successful trait in taking a step beyond the band’s previous LP.

With riffcraft in mind I would say “Breaking the Sword” is the most ruggedly cut heavy metal charger of the lot and despite the inconsequentially caterwaul’d scree of the vocals throughout it is the song that best draws a line between the intent of Weald & Woe‘s earliest material and today in this more neatly related and shaped state. Though their recording is rough/stiffly presented per the session drums from Ryan Sparrell his work is probably the most capably performed spine for the band’s work to date and this accounts for the less hurried, spastically formed rhythms found on the second half of ‘Far From the Light of Heaven‘. “Skyless World” is the most ambitious piece here in terms of meter and probably the song which best benefits from this additional quickness underfoot though I’d felt this keyboard-kissed song also emphasizes the dry, impersonal voice of the album beyond its lead guitar voicing. A lyrics sheet might change this but the ear(s) most likely to partake won’t dig deeper than the bolder melodic dance of the listening experience.

While it would be fair to say that this more collaboratively writ LP from Weald & Woe does well to both lean into and away from Obsequiae-cloneage while generating blackened heavy metal interest comparable to that of, say, more recent Dödsrit the result is only just convincingly set per the island it sits upon. Where it loses me is in the details as the broad gestures (leading melodies, etc.) are satisfying at face value yet the rhythmic innards of ‘Far From the Light of Heaven‘ do not stick in mind beyond a few twisted heavy metal gallops here and there. Still, the experience makes a fine impression on a surface level and should be enjoyable for melodic metal-minded folks seeking passive listening. A moderately high recommendation.

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