Review: Vials of Wrath – Remnants of Remembrance

I think it’s always something of an event when Christian black metal act Vials of Wrath releases something new. For years, D.C. Mills has been creating some of the most thoughtful and introspective black metal out there. With classics like Seeking Refuge and Dark Winter Memories under his belt, how will the latest album, Remnants of Remembrance, fair?

Be not afraid. If you’re like me and love the Cascadian black metal sounds of Wolves in the Throne Room and Agalloch, you are definitely in comfortable territory here. And this might very well be the best thing Vials of Wrath has released yet.

Whether you want to admit it or not, many black metal bands actually hide a sense of beauty underneath the abrasive sounds associated with the genre; Vials of Wrath brings that beauty to the fore. It’s the musical equivalent of sitting by a roaring fire in a cabin far away from civilization – somehow comforting, thought-provoking, and serene. 

After the colder sounds of Dark Winter Memories, Vials of Wrath has gone back a season into autumn (the greatest of all seasons), painting a sonic landscape of flickering fire, falling leaves, and vast woodlands. At times, I found Dark Winter Memories a little too mild, a little too soft, despite the quality of its music; Remnants of Remembrance goes a little more for the gusto and ups the metal a tad. 

The first track entitled “The White Stag” starts incredibly strong with around 8-minutes of pure Agalloch-like bliss. Despite the soft initial approach, it becomes quite clear that Mills has opted for a more heavy sound here, though the guitars remain quite clean in their distortion. “Seed of the Black Oak” follows with a heavier emphasis on distorted guitars, Wolves in the Throne Room-esque vocals, and even boasts a wild guitar solo. “Branches of the Black Oak” begins with an uber-black metal riff reminiscent of Winter’s Dawn, before slipping into a stomper of a track. A break is given (not like one needs it, this album is pretty easy-going as far as black metal goes) in the form of a medieval ambient-style track called “Abrams Creek.” Fifth track, “Baptized in Light” sounds like a lost early 90’s shoegaze track, opening with shimmering guitars that one would far more likely here from a band like Slowdive, Chapterhouse or the early Boo Radleys than anything else, even blending in just the tiniest touch of goth reminiscent of Type O Negative during their “October Rust” era; though it’s not my favourite on here, I can’t deny how well it’s played. “Magicicada” goes full Agalloch with meaty acoustic guitars that are nothing short of enrapturing, hitting the heights that classic acoustic tracks like Opeth’s “Patterns in the Ivy” once reached. The album closes with the epic “Forty Nine Novembers,” beginning with rolling drum work that echoes “Zimbo” by Echo and the Bunnymen (see what I did there?), before segueing into a mid-paced Vardoger-like chug augmented by In Flames-esque melodeath guitar solos. 

Lyrically, Mills goes for a more thoughtful, passive approach. He doesn’t hit anyone over the head with anti-satanic assaults or pull any “turn or burn” moves; instead, he espouses a connection to God through His creation. This is no nature worship, nor will one find the pagan-leanings of sonic cousins like Wolves in the Throne Room here; Mills is very clear about Who nature and all of creation is pointing to. The most powerful moment for me is in the track “Baptized in Light” – 

“There is a silence

Momentary peace

In nature’s temple

A whispered voice speaks,

“Be still and know.

Be still and breathe.

Be still. 

Be…”

Throughout it all, one thing really remains very clear to me, just as a listener – the music that D.C. Mills creates with Vials of Wrath really seems to me to be about as authentic as it gets: authentic to the environment in which he lives, authentic to his spiritual outlook, authentic to the way of life he has chosen to live; not that I know him on any personal level, but that’s just the impression I get – that this isn’t just music he pulled out of a hat in order to try and sound a certain way. It’s real, in other words. And it’s simply further proof (as if any was even needed) that Vials of Wrath is and remains one of the finest Christian black metal acts today. A beautiful album that contains all of the best elements of the atmospheric/post-black metal sound, immaculately woven together in a way that is almost untouchable in terms of talent and vision.

Definitely gets a “mandatory listening” review from me. 

For Fans Of: Wolves in the Throne Room, Winter’s Dawn, Agalloch, Woods of Ypres (early), Vardoger (early)

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