The Sacrament Of Sin
An organ, a large voice and firm guitars are enough to make Powerwolf immediately recognisable. The Sacrament Of Sin keeps that combination and gives the songs a little more variety. The band have no desire for a new identity. The improvement comes through small changes within a familiar, particularly effective approach.
Fire & Forgive has the force an opener needs. Its rhythm pushes forward and the melody quickly makes the focus clear. Attila Dorn sings with considerable weight in his voice. The large vocal parts support him without completely pushing aside the guitars' firm foundation.
Incense & Iron chooses a more marching rhythm, with a folk-like colour and an almost instantly recognisable chorus. That different movement gives the album some air. Powerwolf do not need to keep increasing the speed to maintain energy. Clear rhythms and melodies make the song convincing at a steadier pace too.
The main change arrives with Where The Wild Wolves Have Gone. The ballad gives Dorn room for a different, more emotional delivery. Its large melody suits the band's character, while the quieter development creates a useful break. It feels like a natural part of the record rather than an obligatory pause between heavy songs.
The religious imagery and supernatural stories remain clearly theatrical. You do not need to take them solemnly to enjoy the music. Anyone with little interest in large choirs and immediate singalong choruses is unlikely to be converted here. For those who do enjoy them, Powerwolf deliver their ideas especially well. The sound remains clear, the guitars have enough force and the variety gives a familiar formula new energy. The Sacrament Of Sin demonstrates how many good songs can still fit within such a consistent approach.
