"Wasteland Stories" is the debut album for German Stoner band WENDIGO. The band was founded in Northern Germany in 2012, and this new release follows their EP release "Initiation" which released in 2016.  Originally a cover band, WENDIGO has worked long and hard to create and deliver their sound while now focusing exclusively upon their own songs.

"The Man With No Home" opens ominously with tuned down guitars and drum rolls before launching into the pre-requisite heavy riffs. Vocalist Jorg Theilen has a somewhat unique approach to this hazy landscape with his clean vocals that have a more NWOBHM approach. Perhaps it's even a bit of a Black Metal feel. Whatever styling you want to bestow upon it, it mostly works. With the second track, "Desert Rider" Theilen initially takes a different route, using almost a spoken method to set the tone before his vocals take the leap into impressive 'Air Raid Dickenson' like territory.  The riffs leading into the back half of the song just crunch and add a mesmerizing groove before the song abruptly closes out. A steady drum beat from Freeseman and a fabulous bass run from Viertel create a unique path that take us into "Back in the Woods". Vocally, this one seems off, but that's okay. Post and Moller's guitar work pull us through, providing all the guidance really needed.

There does seem to be a bit of a common theme; perhaps a conceptual idea happening with the songs. The themes center around solitude, and mysticism. The songs flow exceptionally well throughout the album, both musically, and lyrically. All of this seems to pinnacle in the albums halfway point with the two part "The Lonesome Gold Digger". "Part 1" opens softly and slowly like all good tales. But when the band really kicks into gear, it's with all their gusto. "Part 1" is centered around a really great riff, and an exploratory feel. "Part 2" opens with a similar riff as the previous portion, and maintains a great energy throughout. Easily my favorite track(s) on the album.

Through the remainder of the album there are moments of brilliance to be found in just about every track. The galloping guitar riff in "Iron Brew", the standout bass runs in "Staff of Agony", and the vocals closing out "Mother Road" which takes on an almost ballad like quality. All in all it's a fine effort. If pressed to issue a criticism, it would have to be the tendencies of the vocals to be a bit underwhelming. Sure, there are moments where Theilen nails it. But more often than not, the vocals take a back seat to the rest of the band. I would have really liked Theilen to have established himself here. He just seems too restrained for some reason.