The King Arthur of doom, Scott Weinrich (Saint Vitus, The Obsessesed, Spirit Caravan, Shrinebuilder et al) here teams up with German singer-songwriter Conny Ochs for an album of predominantly acoustic intimacy. Defiantly howling against a backdrop of alienated lament, the duo lock into minor key brotherhood, and while drawing on country/folk, 'Heavy Kingdom' retains an air of bone-dry gloom to appeal to fans of Wino's earlier canon. There are plenty of moments where it resonates with earthy charm, as well as the odd occasion when the earnest strumming gets a little more clunky.

Conny Ochs brings a raw tunefulness to the partnership. This chemistry is evident on opening track 'Somewhere Nowhere', which is sparse and pregnant with contemplative silences. The dark harmonies are comparable to something off Alice In Chains' 'Jar of Flies/Sap' EPs. The title track and 'Dust' boast folky fretboard runs, blues twang and neat contrast between the lugubrious Ochs and righteous Weinrich. 'Vultures by the vines' features huge vocal hooks, employs a little electric rumble, and is a simply a great alt-rock song that would sit comfortably alongside the late Mark Linkous' best work. The descending AOR chords and pained chorus duet of 'Dark Ravine' are less convincing, and its jarring nature stalls the momentum briefly.

Thankfully, the Ochs-led 'Traces of Blood' is a more sophisticated gem, and a cover of Townes Van Zandt's 'Highway Kind' fits snugly with the introspective character of the album. Drone-infused apocalyptic ballad 'Here Comes The Siren' would have been the perfect way to round off the album; instead 'Labour of Love' flattens the vibe a little, sounding like a standard rocker given the 'unplugged' treatment.

Wino is still turning out quality heavy music, such as last year's Premonition 13 release. 'Heavy Kingdom' would, in an ideal world, be a more succinct up-close-and-personal statement with a bit more ruthless trimming, but there's plenty on offer to make it a gratifying experience.