Wizardthrone certainly builds a melodeath-type base, with heavy, fast, technical riffing, classic Euro-death-metal high screams, and intricate drumming that isn’t afraid of the occasional blast. Adding the “symphonic” qualifier helps, but again doesn’t tell the whole story. Musically, the label of melodic death metal is correct but insufficient. There’s a lot to love in this debut from extreme metal’s only “wizard-metal” act. It’s such a wonderful bit of art and fits so well, I wanted to shout it out right off the top. The colour palette is dramatic and moody, the details are meticulous and crisp. We see an alien landscape dominated by a dark mountain and the immense hypercube, while all around space-wizards crowd in. The album cover is a beautiful microcosm of what the album itself brings over its 45-minute runtime. I do this specifically because IT IS PERFECT. Before jumping into the highs and lows of the music itself, I want to take a moment to mention the album art. The path we chose, must soon be judged in kind That astral deities still dwell within the deep abyssīeyond the universal law of stellar entropy “Four billion yеars have passed and all we truly know is this Gone are the unicorns, dragons, leviathans, and scallywags in their place is an astral quest through wormholes and across dead moons, one space-wizard’s quest for immortality and omnipotence.
The lyrics are both masterfully constructed AND characteristically ridiculous, if not exactly what fans of Bowes’ other projects might expect. Featuring decades-old lyrics by Bowes, the album can best be described as a melodeath space opera, but even then that doesn’t tell the whole story. Led by the ever-unpopular Chris Bowes (Alestorm, Gloryhammer), the lineup includes members of Gloryhammer, Forlorn Citadel, Aether Realm, and Nekrogoblikon, and their debut album “Hypercube Necrodimensions” dropped in July 2021. Wizardthrone announced their formation in 2020, bringing together members from some of metal’s least-beloved nooks and crannies.
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