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Wreathe – The Land Is Not An Idle God



There are some projects that have a positive bias towards you from the start. Wreathe is one of them. Composed of members of Morrow, who made it big in 2022 with the sensational The Quiet Earth, and musicians with “tenure” in bands like Anopheli, Fall Of Efrafa and Arboricidio, the band indulges in melodic, epic, […]

The post Wreathe – The Land Is Not An Idle God first appeared on DIY Conspiracy – International Zine in the Spirit of DIY Hardcore Punk!




Artist: Wreathe

Title: The Land Is Not An Idle God

Release: LP / Digital

Year: 2023

Label: Alerta Antifascista, Peristent Vision Records

There are some projects that have a positive bias towards you from the start. Wreathe is one of them. Composed of members of Morrow, who made it big in 2022 with the sensational The Quiet Earth, and musicians with “tenure” in bands like Anopheli, Fall Of Efrafa and Arboricidio, the band indulges in melodic, epic, anti-fascist emo-crust. In general, as they themselves note, if you love bands like Tragedy, Ekkaia, From Ashes Rise, you have to expose yourself to This Land Is Not An Idle God.

But even if this sound description doesn’t mean anything to you, the album’s 25 chilling minutes offer an ideal introduction to the genre. It doesn’t matter if Wreathe’s debut, which features another impressive cover by the great frontman Alex CF, is a full-length release or an EP. The six compositions, especially in their speed and intensity, are archetypal of the sound movement that swept the DIY underground crust at the beginning of the century, but also possess the technique that gives them substance to this day.

As is usually the case with Alex’s bands, Wreathe is thematically based on a fantasy book. This time it is his new work The Book Of Venym; An Egalitarian Demonology. It is a social and naturalistic allegory about mythological creatures of nature who are called to return as demons to defend the earth against the forces that are destroying it. Obviously, the horrors that are happening in the country these days come to mind with every listen. The anti-fascist and anti-capitalist context of the record, both musically and thematically, does not exist to melodramatically dress up natural disasters. In crust punk, the actual depiction of the power relations and oppression that lead to such horrific results serves as a canvas for rallying, passion, stubbornness, and collective struggle.

To hate is human
Ground elder observe with fascination
To err is not in its nature
To quench man’s purulent flower

The Land Is Not An Idle God is such an epic work. Its creators, experienced and settled in the sound they want to achieve, place every riff, every tempo change, every musical corner at the absolutely vital and necessary point among the album’s six compositions. The martial opening of “One Hundred Swords Of Righteous Anger” sets the tone with its fantastic lead and dramatic finale over stormy d-beat gallops. As the album plays, close your eyes. Let your feelings unfold. The fists will clench of their own accord. The world, in its earthy, soaked, burnt, destroyed soundscapes, will begin to crumble.

Everything beautiful that was hidden, forgotten, betrayed will emerge through the smoke. The following “Green Messiah” with its mnemonic rhythm will build up an accumulated, melancholic tension. And then many shouts will ring out: “For the funeral!” Pause. Awe. The listening experience continues with musical themes that, as they progress, confirm my personal belief that, as long as it grows, neocrust sounds like the only music that matters. On the climactic “Enemy Of All Reason,” Wreathe shift gears to more mid-tempo soundscapes. The mostly modern, mid-tempo post-metal parts of the people’s and the genre’s heritage turn a three-minute track into an epic illusion.

But then, at a crucial point, Alex will echo screaming “The forest is no longer passive”. A tremendous melodic riff will change everything and Wreathe, with such detail, essentially differentiate themselves from the related side-projects and acquire their own identity. This Land Is Not An Idle God isn’t just a tribute to the likes of Madame Germen or Remains Of The Day. They are not the most straight version of Morrow. Yes, there are guests again, fronted by Jamie Pratt of the great Autarch. Yes, atmospheric and doomed moments like the record’s finale with the conscience speaking “Mother Of All Woe”.

She, who stays the raised fist

And fashions blades in secret places

Wreathe’s anthropomorphisms and allegories, as well as the theatricality of their music, allow the audience to interpret them as they see fit. They balance the experiential and the collective, the personal and the social. In “The King Is Risen,” a beat and a melody from the album’s many, as well as a frenzied outburst, are enough to ignite the spirit. The apparent simplicity that runs through The Land Is Not An Idle God does not rob it of depth. On the contrary, successive listens, even from a cold and distant approach, increase its appeal. Wreathe return to a distinct genre and give it a high point worthy of their legacy and current status.

Occasionally, excellent albums are still released in this style. But The Land Is Not An Idle God is much more than a nostalgic throwback. It is stubborn and persistent, but above all, thanks to the quality and criticality that emanates from its content, it finds the golden ratio where the artistic eye of the style feeds back into the radical spirit of the content. It casts a shadow so that every time you close your eyes, the wind you feel on your face whispers to you that nothing is over, even if the Earth and her beings suffer. It reveals that anger is righteous and purposeful. It reminds you that you must continue until the total liberation of all.

Radiate rage,
radiate thought,
radiate love!

The Greek version of this review was originally published in


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