Release Date October 18th, 2024
Format Digital
Genre Power/Thrash Metal
Origin Canada
Wooden is a Montreal-based outfit that finally dragged this project into the light after five years of stalling and tinkering. These guys have been sitting on some of these riffs since 2011, which usually means a band is either perfectionist to a fault or just stuck in a loop. They’ve built their identity around this idea of a relentless, mechanical cycle, using the imagery of a massive timber coaster to represent the grind of human existence. It’s a self-produced effort, handled mostly by the El-Khatib brothers, which gives it that DIY streak common in the independent circuit.
The album kicks off with the intro "Wooden," and honestly, the production is a bit of a mixed bag right out of the gate. You can tell they’ve been obsessing over the gear, specifically that BiasFX software, and while the tones are functional, they sometimes lack that organic soul you want from a record named after a forest. The songwriting is ambitious, trying to map out the entire human experience from birth to the grave, but the execution sometimes stumbles under its own ambition. It’s a bumpy ride that mirrors the Quebec coaster it’s named after, some parts soar, while others just rattle your teeth in a way that wasn't intended.
"The Monster" and "Off The Rails" show off some of those decade-old ideas, and you can tell they’ve been polished until they’re almost too smooth. The transition from the dream-inspired riffs to the reworked 2011 sections is noticeable; it’s like a patchwork quilt of different eras of the band's life. "Warfield" tries to act as the big "rite of passage" moment, and while the MIDI-turned-guitar solo is technically proficient, it lacks the spontaneous fire that makes metal actually dangerous. It’s all very calculated, and that’s where the objective fan in me starts to tune out a little.
By the time we hit the back half with "Dooming Hour" and the marathon "Children Of The Hills," the "Wooden" philosophy of a never-ending cycle starts to feel very literal. "Children Of The Hills" stretches past the eight-minute mark, and while the vocal-driven dive bomb is a cool studio trick, the track drags its feet toward the finish line. The attempt to capture the search for meaning is there, but the songwriting gets lost in its own woods. It’s an honest attempt at a concept record, but it needs more focus and less over-thinking to truly bridge the gap between "interesting" and "essential."
Ultimately, this is a debut that shows a lot of work but also a lot of hesitation. Five years is a long time to spend on six tracks, and you can hear the exhaustion in some of the arrangements. The musicianship is fine, the drums are steady, and the vocals have their moments, but the whole thing stays in third gear for too long. It’s a fair start for an independent crew, but they need to stop looking at the blueprints and just play. It’s a mid-tier coaster ride: fun for a minute, but you won’t be sprinting back to the front of the line.
Damage done @: 6.5
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