Ironically, been listening to "Black Wings" a lot lately… This is a first, reviewing an "album" that will only be available on this continent as a digital download, since Century Media has decided to segregate their roster into bands it deems worthy of producing actual CDs and those (smaller European-based acts) who merely get the download treatment (Finland’s Norther are simultaneously enduring a similar label inspired slight/ embarrassment). Whether you like Wolf or not is immaterial, at some point your overseas favorite(s) might not be readily available, as the artist (not the label) intended. As ads dwindle and increasingly tightened, American-centric rosters prove a self-fulfilling, non-sales prophecy, perhaps only as an expensive import (as if CDs weren’t already costly enough and cutting into sales vs. illegal downloads). Might seem like an (abrupt) cost effective decision for the label, but given the proclivity for metalhead collectors, aversions to download-only and the wide accessibility of material on the Internet, time will tell if this just hastens the death knell for the industry. Hell, if all one gets is the music (no artwork/liner notes, etc.), where’s the incentive pay for it? Why not “steal” it? Perhaps the album title refers to Wolf’s opinion on the CM decision makers?

Over the years, the Swedes have matured and stamped their own metallic signature, no longer lobbing Maiden bass gallops and screaming guitars from the get-go. That said, within the first 10 seconds, channel switching guitars announce ‘Vicious Companions’. Apart from the violent themed lyrics and brief guitar interlude, ‘Jekyll & Hyde’ could be a 70s Beatles melody, or at least an Enuff Znuff remake. The psychedelia vibe over, it’s back to driving guitars and high-pitched voice on the ‘Absinthe’ follow-up. Infectious, mid-tempo rhythms are generally the rule throughout, although ‘Tales from The Crypt’ sees a more forceful delivery. Still no ballads though! ‘Road To Hell’ has guitarist Niklas Stålvind stretching his pipes into the upper register, as a bizarre geometry of dizzying guitar runs intersect around him. The eleven tracks end with the tale of the doomed Russian nuclear sub ‘K-141 Kursk’.

Overall, a strong (and somewhat overdue) platter from the youngsters who, more than a decade ago, kicked off a new generation of traditional metal worship (in front of and on the stage).