Title: The Winds Have Changed
Artist: Defeat
Rating: 4.75 / 5
Genre: Black / Heavy / Viking Metal
Year: 2014
Country: USA
Label: Werewolf Promotion
It is difficult to imagine a Metal band doing something new in the year 2014. The amount of generic bands to exist at this point in history is monumental, making it increasingly difficult for die hard Metal fans to find something that peaks their interest. Black Metal had long become a kind of self-parody, “heavy metal” was full of pseudo-retro kids wearing spandex, and Viking metal was infested with second-rate bands recycling the same riffs and uninspired lyrical themes. While this can be seen as a cynical opinion, just spending 30 minutes on Metal-Archives is more than enough to prove the lack of quality, worthwhile bands that exist today.
Hither forth comes DEFEAT, a band formed a little over a decade ago in Pennsylvania by sole member and mastermind Vidarr. Defeat plays “Heathen Black Heavy Metal”, taking inspiration from the early years of Black Metal, traditional 80’s Heavy Metal, and even Folk and ambient genres. While Defeat has not re-invented the wheel, the band blends these influences in a unique and refreshing manner which is fierce in spirit and strong in execution. The Winds of Change is a prime example of how the band is “forging a unique heathen path” in the Metal underground.
The album begins with a synthesized instrumental song “A Journey from Far Away”, which could easily be classified as Dungeon Synth. Lush strings, heavy brass, and harp melodies soar over cymbal crashes, creating an atmosphere that actually feels as if the listener is embarking on a long journey. Track two instantly begins with an aggressive folk inspired riff that brings to mind the glory days of Storm’s “Nordavind” album. This immense riff is backed up by more synthesized brass and a great traditional guitar solo. The opening moments of this song exemplify Defeat’s ability to combine early black metal with pure heavy metal in a manner that is heartfelt and strong, without sounding recycled or cliché.
The vocal style of Vidarr is also commendable; a varying mix of comprehensible black metal growls and barbarian like clean singing. Defeat also possesses the unique ability to create memorable choruses, something long lost in black metal since the old days of “Into the Crypts of Rays”. The Conan-like chants in the chorus remain in my head for days (“Odin guide us in battle, Thor give us the strength, Tyr bring us victory tonight, and Loki stay out of the way!”).
The absolute highlight of the album is track three, “The Worlds Numbered Nine”. The song begins with another great synthesized orchestra intro, with melancholic strings and timpani percussion. The main riff features great dual guitar harmonies before evolving into a true headbanger. The entire song carries a feeling similar to many great classics from the early days of black and heavy metal, featuring lyrics from the Poetic Edda and again with an extremely memorable chorus featuring lyrics from the Havamal; “Friends die and kinsmen die, so you’ll die yourself, but a noble name will long survive if honor in life be had”. The incredible lyrical content is followed by a blazing guitar solo, before leading into more heavy brass and a string/harp section with the sounds of the steel of a sword being sharpened. The album is worth listening to just for this song alone, but luckily it is not the only gem to be found on The Winds Have Changed.
Vidarr’s exceptional ability to craft high quality guitar solos is best represented in the instrumental track “Who Guards the Rainbow Bridge”. The song is nearly five minutes of serious heavy metal soloing over ethereal synth strings. This is not technical neo-classical shredding, nor is it mindless scales being played without direction; Vidarr has the ability to play focused and highly emotional guitar solos which have given Defeat a unique voice. This ability alone already sets the band aside from the countless metal bands who have not yet found their own form of expression.
Other great moments appear all across the album; from the medieval classical guitar intro on “Ready For War” to the thrashing “first wave of black metal” riff in “The Darkness of Mimir’s Well”. By the time the album ends with “Heathen Battle Ode”, another epic synth instrumental which could easily be labeled as a Dungeon Synth song, you have experienced just over an hour of Defeat’s heathen black heavy metal. The band may not be revolutionary or ground-breaking, yet still maintains a level of unique originality. Defeat has honored the age-old Metal tradition of paying homage to your musical roots while remaining genuine and sincere, rather than being just another clone with no creativity or spirit. There is power and passion in Defeat’s music, and yet somehow this band has remained an undiscovered treasure.
Barbarian Skull gives this album the highest recommendation for all who dare to tread the path of true Heathen Metal.
