Album Review: POWERWOLF Wake Up The Wicked
By now, Powerwolf fans know exactly what to expect with each new LP (another collection of familiar tracks fueled by mythical/spiritual songwriting, orchestral embellishments, fierce arrangements, and uber-manly vocals). That’s both a blessing and a curse since it means that the German ensemble’s work is as dependable as it is predictable, with them routinely adding new material to their tried-and-true power metal formula without doing much to shake things up.
Wake Up the Wicked—which follows 2023’s Interludium—is no exception. In fact, it even clocks in at almost the exact same length and contains almost the exact same number of compositions. Once again produced by Joost van den Broek (Ayreon, Blind Guardian, Epica), it’s as mighty, complex, and sleek as just about everything else they’ve done since forming in 2004. Consequently, whatever little innovation exists is rendered virtually indiscernible because it’s buried beneath 95% of the same schtick Powerwolf have been doing since they started.
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There are some clear highlights here, though, not the least of which is lead single “1589.” As Metal Injection described it back in May, the song revolves around “the [real] story of Peter Stumpp, who lived near Cologne, Germany in the 16th century and is known today as the Werewolf of Bedburg. After being defamed as a werewolf, the farmer confessed to several murders under torture and was cruelly executed on October 31, 1589.” It’s easily one of the catchiest and most affective pieces the quintet have crafted in a long time, with its requisite anthemic chorus, choral chants, delicate pianowork, and fiery guitar solo making it damn near irresistible.
The quirky melodies, full-bodied production, and nuanced ornamentation of “Sinners of the Seven Seas” is undeniably appealing, too, because it pulls the audience into a relatively vivid and developed world. Likewise, the bells and keyboards of “Kyrie Klitorem” help it stand out, as do the jackhammer percussion and hyperactive six-string theatrics of “Wake Up the Wicked.” The children’s choir within “We Don’t Wanna Be No Saints” is a nice touch as well, and closer “Vargamor” sets itself apart with gentle Celtic instrumentation and correspondingly bittersweet singing.
Even so, those notable touches are like the icing on an otherwise acceptable but generic cake, as the core songwriting and playing are majorly run-of-the-mill. Elsewhere, “Bless ‘em with the Blade”—which harkens back to the speed metal of 2015’s Blessed & Possessed—is as perfunctory as you could image. Subsequent tracks “Heretic Hunters,” “Viva Vulgata,” and “Joan of Arc” largely fall into the same suitable-at-best camp, too. Without the grandiose spectacle that (to be fair) power metal is known for, there’s simply not much substance or originality to them.
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Wake Up the Wicked is fundamentally enjoyable and impressive because Powerwolf continue to do what they do very well. There are a few obvious peaks scattered around its mostly obvious terrain as well. However, listening to it is also like eating the same dinner for the 10th night in a row (even if you still like it to some degree, you can’t help but notice how flavorless it’s become). Diehard fans will undoubtedly like it—and more power to them—but outside of a handful of special moments, they’ve essentially heard Wake Up the Wicked numerous times already.
