Prickly kind of band, Winterfylleth, or so I always think. Or maybe they are just being open and keen to discuss their ideas of culture and heritage as it impacts on their creativity makes me weirdly defensive. There again their austere image in photos makes them come across as some harsh neo-folk group, or an early eighties industrial band and all the baggage that comes with such impressions maybe feeds that. Whatever, as they are more than happy with the English heritage metal tag (according to the last interview I read) but also represent one of the UK’s best black metal bands currently in existence they deserve respect. And this is a very highly anticipated album.

Does it fall short of their heritage as a band? Of course it doesn’t, you silly thing. And don’t worry; post rock has not seeped any further into their sound either. If anything ‘The Threnody Of Triumph’ is a little harsher than the wonderful ‘The Mercian Sphere’.

Their trademark haunting and evocative wall of sound is there from the beginning of the first track, ‘A Thousand Winters’, bringing a thousand years of history out from the fog of the land. There is a curious, cinematic melody to this song which very worryingly brings to mind the film score of some desert epic, which I guess is not the intention and can only really blame the odd wiring in my brain not the band. The production is lush and full bodied and the mix, particularly of the vocals, is spot on. Ending with some excellent clean vocal mixing, it is an assured start that the harder, driven ‘The Swart Raven’ builds on with a soaring, mournful melody in the riff. This in turn glides so elegantly into the short violin piece ‘Aefterield-Feon’ which is a bleak tune delicately built.

It’s kind of the end of Part 1 and the second movement hammers in on a riff of Immortal gone Emperor with that key Winterfylleth sound pushing through, as though folding it inside out. ‘A Memorial’ it is called, and there is a granite, monolithic feel to this. Weathered but not worn away.

There are no surprises here, really, nothing to upset the fans they have already gathered. This is of course is not remotely a criticism; Winterfylleth have a sound and it has grown and developed since The Ghost Of Heritage. That sound is epic and carries a heartfelt melody on each song, it retains the grit and bite of the land they are trying to evoke and the occasional use of clean, choral vocals such as on ‘The Glorious Path’ creates a real air of praise. Three albums in and The Threnody Of Triumph is a mature and impressive hour or so of a very atmospheric take on this grey and pleasant land. Outstanding track ‘Void Of Light’ is a truly huge storm of memory and transition, of passing over to the next life and maybe the following song ‘The Fate Of Souls After Death’ the last touch of this transition. The acoustic ‘Home Is Behind’  following is the coda to this part of the album.

The title song closing the album leaves us with grandeur and a subtle reprise of the opening song in its rousing. Then a little quiet steps in on me. Always a good sign, that quiet after the musical storm.

Culturally the ancient heritage of the Anglo Saxons touches me only faintly; the sights and echoes of the past that have coloured my childhood and life and resonate in my soul rest in the lands around my home. These are Roman, Norwegian and Danish peoples, all with their own legend and culture and they still dominate the topography and geography and history around me. None of this, however, prevents me in wrapping myself in this finely woven cloak and sitting down to ponder on times past and other peoples.

It is another step forward in the Winterfylleth tale; sure footed, confident, elegantly composed and epic. I suspect that it will also improve with age but even now it is rather fine indeed.

(8.5/10 Gizmo)

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