Review by Chris Pratl on February 16, 2019.

How sweet it is to hear another gem from one of the better bands to emerge from Illinois in as many years. To the Frontlines is Züül's sophomore effort and actually surpasses the majesty of the debut from 2010. I never had a doubt. 

Züül is one of those bands that just forces you to eagerly anticipate its next musical move. After hearing Out of Time two years ago and having the privilege of doing an “Emerging Talent” profile of my fellow statesmen, I knew well what was coming for the metal movement with these guys. There are no bells and whistles, no pomp and circumstance, and no flimsy efforts with Züül; what you hear is pure metal music that at times calls upon Thin Lizzy's magical prowess meshing perfectly with some of the classic traditional sounds of the infamous NWOBHM. With a quick and razor-sharp precision, To the Frontlines captures a moment in time and provides a new and improved soundtrack for the modern metal era. Along with Speedwolf, these guys are going to keep making loud noises all over the genre. 

Each track follows a similar pattern in the basic, stripped-down galloping through barren battlefields of yesterday's influential forefathers. Whereas many bands today seem to be calling upon this artifact of a heavy metal sound, Züül manages to step up the momentum by issuing fist-banging, head-bobbing anthems like “In the Cellar” or “Show No Mercy”, which showcase the band's ability to fire on all cylinders and offer both the aging 'head and the young upstart a fine view form a bridge often buried under commercial rubble. From the standard riffs to the resonating guitar solos, this album finds the very best of modern heavy rock and takes the process to another level of greatness. The speedy effort of “Heavy Lover” sounds like something straight off the old Mausoleum label's itinerary, and if you're not familiar with it you're simply missing out. This track here is the catalyst for a past greatness that is revisited with the utmost care and diligence. The thick wall of sound that Züül produces within these songs pretty much covers the ground and simmers before ascending slowly towards the ceiling in a sort of bluish haze that's too perfect for textual summarizing. 

Once “Skullsplitter” passes into the headphones I immediately backpedal to my Thin Lizzy comparison, only with much more viable speed and intensity, though the Gorham-like riffs and tones are ever prevalent. With a high-intensity output of that caliber, the slowdown of “Of the Fallen” is a welcome instrumental 'lull' that fools you into thinking you're in for a respite, only to be dropped face first into “Bounty Land”, a sort of anthem-like effort that marches along rather nicely. Vocalist Brett Batteau has that familiar even tone that sounds so British Metal it's hard to fathom this being a new release, but rest assured it is and Züül is one of the bands for the new generation that you simply need to hear. 

There's no sophomore jinx here, people - To the Frontlines encompasses all of the antiquity of the distant past and the relevant tenacity of today's take-no-prisoners metal assault for the perfect sound in an imperfect period. Stop wishing for the past to come alive and rejuvenate the spirit with some classic rock 'n roll.

Rating: 8.5 out of 10

(Originally written for www.metalpsalter.com)

Review by JD on August 23, 2016.

I have reviewed this stellar Finnish band awhile back (album was named Nil) I gave that heavy and viciously melancholic masterpiece a whopping 9.9 out of 10. I hit play on the CD player and wait, hoping that this amazing doom/death act from Finland can match the last one.

The 0 X í S T album begins with the first cut hammering through the speakers, I am struck by one thing … it is brutally heavy as shit. Melodic yet ponderingly slow, the album kicks off with a dark tune about a dark place people go to in sorrow. The next few tracks are as well vicious as the first, showing complexity that just adds to the nasty vibe they are creating. Showing they are influenced by such bands like Novembers Doom, they add and really odd Cradle Of Filth vibe to it.

Songs like the lumbering slowness of the album opener called 'In the Hood of the Clan of Tombs', to the sweeping slow paced epic vibe of over twelve minute 'No life to Bother' creates such a dark and ominous album that oozes greatness with each passing second. Each song drags you into their world of lurking shadows, despair and blackness… exactly what a good, solid doom album should be.

Perhaps it is the progressive vibe that deepens the heaviness, and catapults 0 X í S T into a doom metal category all of themselves but whatever this band has in store for the next release, be certain that I will be getting it – and I don’t care if I end up not doing it for review purposes, it will be in hand as soon as I can get it there.

Rating: 10 out of 10

Review by JD on August 23, 2016.

I have reviewed this stellar Finnish band awhile back (album was named Nil) I gave that heavy and viciously melancholic masterpiece a whopping 9.9 out of 10. I hit play on the CD player and wait, hoping that this amazing doom/death act from Finland can match the last one.

The 0 X í S T album begins with the first cut hammering through the speakers, I am struck by one thing … it is brutally heavy as shit. Melodic yet ponderingly slow, the album kicks off with a dark tune about a dark place people go to in sorrow. The next few tracks are as well vicious as the first, showing complexity that just adds to the nasty vibe they are creating. Showing they are influenced by such bands like Novembers Doom, they add and really odd Cradle Of Filth vibe to it.

Songs like the lumbering slowness of the album opener called 'In the Hood of the Clan of Tombs', to the sweeping slow paced epic vibe of over twelve minute 'No life to Bother' creates such a dark and ominous album that oozes greatness with each passing second. Each song drags you into their world of lurking shadows, despair and blackness… exactly what a good, solid doom album should be.

Perhaps it is the progressive vibe that deepens the heaviness, and catapults 0 X í S T into a doom metal category all of themselves but whatever this band has in store for the next release, be certain that I will be getting it – and I don’t care if I end up not doing it for review purposes, it will be in hand as soon as I can get it there.

Rating: 10 out of 10

Review by Jack on July 20, 2002.

Warbling through 54 minutes of downtrodden production, distorting guitar symphonies laced with keyboard amphetamines Weltschmerz are able to go about their darkwave gothic saga with precision and expertise maybe rivaling the depressing art of Katatonia and My Dying Bride; all be it on a different plain of suffering.

“Capitale De La Douleur” is Weltschmerz’s latest burden of agony upon our aggrieved and lamenting world. Picture this: I just have recently completed my second year 1st semester examinations for university, and just finished 3 hours worth of Industrial Relations exams. My current feelings at the time of finishing exams were elation, joviality and general happiness. I drove home on a general high and found sitting in my letterbox a parcel from Eibon Records. In this particular package was a CD from Weltschmerz entitled “Capitale De La Douleur”. “Oh yeah, cool”, I thought to myself. I slotted the CD in to my stereo sat down for a while absorbed the material and at the conclusion let out an almighty sigh...

It takes an entirely large moment in one’s life to deflate an undergraduate student from his or her general euphoria at finishing another semester’s worth of exams. What I am getting at is that Weltschmerz’s “Capitale De La Douleir”, is not a huge moment in my life but successfully managed to peg down my bliss at finishing university exams for another semester. If you ask me, that is one great achievement for a doom record.

The track ‘Colore Di Pioggia E Di Ferro’, starts off with some distorted keyboard doodling sounding like some offbeat disturbed climatic moment in The Bold and The Beautiful (you know the kind). Slowly and ever so slowly, monotonous drumming wanders in to the keyboard atmosphere, which has now seen the entrance of vocalist Desire to the set of things. Guitars soon strike an even more depressing chord... and slowly things transpire to bottomless pit of despair. The song is Italian (I think), does it matter that I only completed year 10 Italian and can’t make head nor tail of the lyrics? No, not at all, this sort of exposition is all about the music and not necessarily about the lyrics and meaning of songs but what you the listener can get out of the song.

Bottom Line: I can’t make a lot of real sense from the lyrics of “Capitale De La Douleur”, but this is an album that can be cherished from those regardless of their language. A wonderful trip to the dark corners of the mind. Weltschmerz write music that needs to be experienced mechanistically in order to fully appreciate.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 10
Production: 7
Originality: 6
Overall: 8

Rating: 7.8 out of 10

Review by Jack on July 20, 2002.

Warbling through 54 minutes of downtrodden production, distorting guitar symphonies laced with keyboard amphetamines Weltschmerz are able to go about their darkwave gothic saga with precision and expertise maybe rivaling the depressing art of Katatonia and My Dying Bride; all be it on a different plain of suffering.

“Capitale De La Douleur” is Weltschmerz’s latest burden of agony upon our aggrieved and lamenting world. Picture this: I just have recently completed my second year 1st semester examinations for university, and just finished 3 hours worth of Industrial Relations exams. My current feelings at the time of finishing exams were elation, joviality and general happiness. I drove home on a general high and found sitting in my letterbox a parcel from Eibon Records. In this particular package was a CD from Weltschmerz entitled “Capitale De La Douleur”. “Oh yeah, cool”, I thought to myself. I slotted the CD in to my stereo sat down for a while absorbed the material and at the conclusion let out an almighty sigh...

It takes an entirely large moment in one’s life to deflate an undergraduate student from his or her general euphoria at finishing another semester’s worth of exams. What I am getting at is that Weltschmerz’s “Capitale De La Douleir”, is not a huge moment in my life but successfully managed to peg down my bliss at finishing university exams for another semester. If you ask me, that is one great achievement for a doom record.

The track ‘Colore Di Pioggia E Di Ferro’, starts off with some distorted keyboard doodling sounding like some offbeat disturbed climatic moment in The Bold and The Beautiful (you know the kind). Slowly and ever so slowly, monotonous drumming wanders in to the keyboard atmosphere, which has now seen the entrance of vocalist Desire to the set of things. Guitars soon strike an even more depressing chord... and slowly things transpire to bottomless pit of despair. The song is Italian (I think), does it matter that I only completed year 10 Italian and can’t make head nor tail of the lyrics? No, not at all, this sort of exposition is all about the music and not necessarily about the lyrics and meaning of songs but what you the listener can get out of the song.

Bottom Line: I can’t make a lot of real sense from the lyrics of “Capitale De La Douleur”, but this is an album that can be cherished from those regardless of their language. A wonderful trip to the dark corners of the mind. Weltschmerz write music that needs to be experienced mechanistically in order to fully appreciate.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 10
Production: 7
Originality: 6
Overall: 8

Rating: 7.8 out of 10