Wilderun: Epigone

I was first introduced to Wilderun with their 2015 record, Sleep at the Edge of the Earth and have been intrigued ever since. Their latest, the majestic Epigone, feels like the album they’ve been building up to create and, though we’ve barely begun 2022, this feels like one that could challenge for album of the year.

Let’s start off by saying that this album takes effort and patience. At over an hour long and with four tracks (including the multi-track ‘Distraction’ suite) 10 minutes or longer, one needs to make a commitment to give Epigone full attention. This is capital-P Progressive death metal, just so we know what we’re getting into here, so although Opeth is an easy touchstone, early Haken (with Jethro Tull influences rather than Gentle Giant) and Devin Townsend are more on the mark.

Strangely enough, the album starts with a relatively short 4-minute acoustic track titled ‘Exhaler’ that sets the stage for what’s to come. It felt out of place on the first couple of listens, and I’m still not certain it’s the best choice as an opener, but it has grown on me. 

But it’s merely the preamble to ‘Woolgatherer’, the first epic track that clocks in at just over fourteen minutes. It starts with an almost Radiohead-esque opening (which is fitting, as the bonus track edition of the record features a stirring rendition of ‘Everything in its Right Place’), and then transitions to a lighter section that would feel at home on Porcupine Tree’s Lightbulb Sun. Just when you’re wondering where the “death” is, the band really kicks in at full bore with the main theme in all of its glory, with blastbeats, death growls, and orchestral swells in earnest. The remainder of the track takes us on a trip of beautiful acoustic passages juxtaposed with death metal assaults. This was the track that took me the longest to wrap my head around, but I’ve come to appreciate it quite a bit.

Next up is ‘Passenger’, which starts out with a riff straight out of Devin Townsend’s catalogue. There are a few sections with Evan Berry trading vocals with Katie Muller that will have you thinking of Hevy Devy and Anneke van Giersbergen. If the previous songs left you wanting more thunder, you’ll find more of that throughoutt. The orchestration here is lush and bombastic, complementing the rest of the band perfectly. If you’re not on board after this track, you’re probably best served switching it off.

‘Identifier’ is the track that hooked me on first listen. The main theme is fantastic, worming its way into my head from the very start and quickly becoming my favorite track of the album. It starts with a passage where the Opeth comparisons are spot on, but quickly twists and turns with orchestral swells, choral vocals, acoustic interludes, and a healthy dose of death metal riffing. Just when you think you’ve heard it all, lead guitarist Joe Gettler rips off a brilliant solo at the 10 minute mark to take us into the outro. Brilliant stuff, here.

After short interlude ‘Ambition’ as a palate cleanser, we transition to ‘Distraction’, a multi-suite finale that brings everything together. The first part, ‘Distraction I’ sets the stage by introducing the theme, slowly building tension until the band lets loose at the 4-minute mark with a full-on orchestral death metal assault.

‘Distraction II’ is fairly heavy throughout, with some massive orchestral and choral swells that add to the intensity, while ‘Distraction III’ gives us a chance to breathe. Gettler again delivers an excellent, emotive solo that takes us into the climax at the end of the track. ‘Distraction Nulla’ serves as the closer, starting with an ambient section that transitions abruptly into a full blast of metal that will leave you wanting more.

Epigone won’t be for everyone: I can’t stress enough that this is an album that requires time. However, if you’re a fan of progressive death metal, there are few bands doing it better than Wilderun. I can’t see how this doesn’t end up near the top of my year-end list, and we still have eleven months to go.