Here is a theory that may be disregarded but that seems more plausible the more time is spent thinking about it; Truly good artists, musicians and bands can be recognised by how many people and other artists, from completely opposite spheres of music are their firmest admirer. Truly good artists span genres and can gain followings from the most unexpected of places. This theory came from the following facts: David Eugene Edwards plays dark but mellow rock with distinct folk and classic American overtones and gothic tendencies, is a deeply devout Christian which comes through in his lyrics, among many other places. Yet I have heard of so many rockers and metal lovers, read a few record collector pieces in extreme metal magazines, where his bands have been mentioned, with the fondest of love, by black and death metal musicians with a south-of-heaven type of approach to religion.

This can make you believe that Wovenhand are something special before you have even heard the music. Luckily, upon hearing any of the albums you will find the music very captivating. Edward’s voice also adds emotion. It is, at the same time husky but trembling which makes the music sound even more dark and poignant.

“The beautiful axe” starts of very slow burning before going into more heavy rock territory with pounding drums and an a chorus that even verges on the anthemic. It is a more straight forward rock song and it isn’t until the second track, “Horsetail” that Wovenhand’s folk and traditional influences make themselves known. The stark and bleak lyrical imagery is, on the other hand, present throughout.

Ten Stones is an affecting listen. Listen with the utmost concentration you will almost see a film playing from inside your eyelids. It’s a film where a man sits alone in a dark room, an empty gaze vivid on his face, as he tries to figure out how his life went so horribly wrong. This image is at its strongest point during the heart-rending “Cohawkin Road” and “Iron feather”.

It isn’t an intention to make this sound like a thoroughly depressing experience because it isn’t and Ten Stones certainly does not lack variation. The heavy stomp and rhythm of “White Knuckle Grip” will get pulses raised and suggests that, along with the lounge-like bossanova of “Quiet Night of Quiet Stars” there is a lightness and sense of fun in this band.

No matter what style is purveyed on Ten Stones one thing is always certain; the power of the songs. This is a truly great album. There are only a few months left of the year, before that annual list of the best albums is compiled but here is one recording that will at least make it to the top five.