On their fifth full-length release, American Gothic, Wayfarer has created a sweeping and sonically rich exploration of an American West tainted by blood, broken promises, and abandoned dreams. While often referred to as “black metal” (whether of the so-called atmospheric or folk varieties), with this release, the band drives home the fact that such genre categories are as limiting as they are useful. Blending bluegrass, folk, and country influences into their extreme metal, the quartet from Colorado has transcended genres altogether on this album and, in the process, challenges us as listeners to do the same.
Wayfarer consists of four masterful musicians from the Denver scene. At its core stands vocalist/guitarist Shane McCarthy, who founded the band in 2011. Originally conceiving the project as an instrumental endeavor, the band shifted more squarely towards a black metal direction, along with the addition of drummer Isaac Faulk in 2012 and bassist Jamie Hansen in 2013. The current lineup came into being with the addition ofJoe Strong-Truscelli on guitar in 2016. The members are also involved in several other key projects rooted in the Denver area, including Blood Incantation, Stormkeep, and Lykotonon. Since the release of the first Wayfarer album in 2014, Children of the Iron Age, the group has gained increased attention and praise for its innovative and skillful approach to extreme metal. This culminated with their 2020 release of A Romance with Violence, which was included on “Album of the Year” lists across the globe.
Opening with a slide guitar played over a soundscape of samples, the first track on American Gothic orients the listener from the moment it starts: Strap in; this is peak Wayfarer, and they’re taking us on a trip back in time. ‘The Thousand Tombs Of Western Promise’ explores themes of industrialization, progress, and the consequences of unchecked development as it rips its way through a well-crafted song. The lyrics highlight the darker side of progress, with images of toil, exploitation, and the toll on the environment. It begins with a mid-tempo drive that builds to an intense double bass, coupled with McCarthy screaming lines about an industrial god and a mirage of progress shrouded in clouds of smoke. The song is a masterclass in using changes in feel and instrumentation to move the narrative along.
Tracking in at just over nine minutes, ‘The Cattle Thief’ is the album’s most sprawling song. This highlights that this album sees Wayfarer using tighter, more focused structures when compared with earlier releases. The song contains a slower midsection and some cleaner singing to dramatic effect. The listener is left to ponder how the actions of those seeking profit at any cost may come back to haunt them, as the song returns to the skillful use of clean singing and fades out over an almost train-type beat employed by Faulk. ‘Reaper On The Oilfields’ is a slower and shorter song, utilizing some interesting production choices to distort the more melodic vocal approach employed by McCarthy. The song itself revolves around a central, almost droning slide guitar part and explores themes of environmental degradation, the consequences of extracting oil, and the toll it takes on both the land and its inhabitants. The use of a thinner and more distorted approach to vocal production gives the sense of listening to an aged recording on a gramophone. It is a perfect example of how the production work of Arthur Rizk helps to elevate this album, transporting one back in time through the use of sound itself and how it is shaped.
‘To Enter My House Justified’ is, simply put, a masterpiece. The song lyrics depict themes of desolation, uncertainty, and a sense of being lost in a harsh and unforgiving world. This is another song that amply demonstrates why the use of Rizk as an engineer and for mixing/mastering purposes was brilliant. The driving bass playing of Hansen on this song and throughout the album is wonderfully present and forward in the mix while never stepping on other instruments. In fact, on a sheer technical level, this album may be the best-mixed album of the year. This song also contains incredible melodic guitar runs and leads and utilizes the Hammond organ (played by Chris McNaughton) to add a wonderful depth to the piece.
‘A High Plains Eulogy’ is a song of loss, nostalgia, and reflection on the changing landscape. The track also utilizes McNaughton’s skillful organ playing with slide and acoustic guitars and a relatively laidback drum groove to present Wayfarer at a melodic high. An instrumental piece, ‘1934’ is a brief interlude combining acoustic guitars with samples of a haunting child’s voice. ‘Black Plumes Over God’s Country’ paints a vivid picture of a world in decline, marked by death, environmental degradation, and a sense of hopelessness. After several more laidback tracks, this song starts with a return to a harder, more driving sound, though not eschewing the use of melody entirely. The track also features George Cessna making a guest appearance on vocals before the guitar solo, which precedes a spoken word conclusion. Containing what almost amounts to a call back to the piano from ‘The Curtain Pulls Back’ from A Romance With Violence, ‘False Constellation’ provides a powerful conclusion to the album. The song itself explores themes of time passing, existential questioning, and disillusionment with ideals once held. This track may be the best example of a blend between clean and screamed vocals. Further, it drives home the fact that this album is the best and most confident clean vocal performance by McCarthy to date.
American Gothic is a masterful blend of musical prowess that transcends conventional boundaries. The band’s ability to navigate the realms of extreme metal while infusing elements of depth and complexity showcases their artistic maturity. With a rich vocabulary of sonic landscapes, Wayfarer takes listeners on a captivating journey through the heartland of their musical vision. The album’s fusion of intricate instrumentation, haunting melodies, and intense lyricism creates an immersive experience that resonates long after the last note fades away. For fans of extreme metal, “American Gothic” stands as a testament to Wayfarer’s unique ability to push the genre’s boundaries, making it a compelling addition to their discography.
