Here’s something you don’t read or hear about everyday: band hires a permanent keyboard player, then makes sure their new album isn’t so focused on filling every ounce of space in the mix. It’s refreshing, and one of the highlights Scottish sludgy progressive/post metal outfit DVNE have taken to heart on their third full length Voidkind. I wouldn’t say there are a bevy of musical surprises here, but what is here has been refined and distilled to the essence of the band’s identity, and continues the band’s ascent as one of the premier groups executing this kind of music.

After putting debut Asheran on my 2017 EOY list, I was initially high on sophomore effort Etemen Ænka noting its gradual emphasis on progressive sections after the initial burst of fury that accompanied the opening numbers, but in all honesty the album faded quickly for me, due in some part to the overcrowded nature of the mix. Voidkind rectifies that in a novel way for a band like this: rather than polishing the mix to the point of blandness to focus on the progressive elements, the mix is more raw, giving real grit to the instruments that other progressive bands would shy away from. But this raw vibe, coupled with the judicious use of keys and synths to add color rather than weight to the soundstage really works to emphasize the more progressive passages. I’m not one for pulling quotes from the PR kit in my reviews, but this focus on a more live mix is telling from founding member Victor Vicart:

“We wanted very distinct left and right guitars, and punchier drums and bass, which would transcribe better live. And the synths needed to be clearer; it’s very easy to put five guitars on each side, loads of different vocals and keys, but then you end up watching a band with an album you really like, and the songs sound nothing like the record. That’s what we wanted to avoid. As soon as the song starts, we want people to immediately recognise the riff.”

After giving Voidkind a few listens, this was 100% the right move. The first four tracks are absolute ragers, with opener “Summa Blasphemia” accentuating the sludgier aspects of the band while making sure every riff and break are clearly audible. There are moments of real fury and anger, feeling like early Mastodon in the best way. That comparison becomes even more overt on “Eleonora” with its twisted opening riff you’d swear was coming from somewhere in the Thunder Mountain/Crack the Skye era of Mastodon. If you’re going to chase the sound of one of my favorite bands you better do it well, and DVNE do it superbly here, incorporating enough of their own identity to throw off the shackles of comparison and let the song’s nine minutes breathe and evolve into a monster epic that’s easily my early favorite on the album.

Both “Reaching for Telos” and “Reliquary” are chasing the same aggressive dragon, with “Reliquary” in particular being a great example of what DVNE can bring to a song, the maelstrom of driving riffs adorned with eastern melodies. The vocals are really impressive, with the roars cutting through the mix like a spike in the head, and the cleaner moments sitting further back, drawing your attention to them rather than simply being presented. The segues are better here as well, with the forlorn “Path of Dust” acting as the brief moment of respite between halves of the album.

Which brings us to another great feature of DVNE in general and Voidkind in particular. You’d think the album was front loaded with the stronger tracks, allowing the back half to get either a) slightly more experimental, or b) padded to fill up the runtime. The punch of “Sarmatae” should lay those concerns to rest – it’s a killer song, not overstaying its welcome and relying more on brute force even as you dig and hear all the intricacies within the riffs and rhythms. “Abode of the Perfect Soul” opens with an anguished cry more often found on black metal records, but it signals the start of another epic song, where dynamics and structures evolve and change (there’s even some Tool moments in here) to accentuate the lyrical narrative about meeting a godlike figure offering transcendence and dimensional travel, though its intentions may not be so noble.

If you’ve made it to the final two tracks of Voidkind you’re in luck, because both “Pleroma” and the nearly 10-minute “Cobalt Sun Necropolis” might very well be the best tracks on an album already filled with highlights. At this point comparisons to other bands have been left behind, and the promise of a rough and raw album highlighting equally the glistening facets of sludge, post metal and progressive metal have not only been met, but exceeded. DVNE have truly outdone themselves on what is sure to be a highlight for this year and for their careers overall.

-Chris

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Voidkind is available April 19 from Metal Blade Records. For more information on DVNE, check out their Facebook and Instagram pages.