Dvne
Voidkind
Metal Hammer 90点相当
Distorted Sound 90点相当
https://distortedsoundmag.com/album-review-voidkind-dvne/
Following the high watermark of their 2021 Metal Blade debut Etemen Ænka, Voidkind sees the band aiming perhaps unconventionally for more immediacy this time around. A reaction to their live experiences on the Etemen cycle, the intention is for the tracks to get to the point a little quicker here, as is immediately apparent when opener Summa Blasphemia comes thundering to life with full and cataclysmic force within a matter of seconds. It’s either a baptism of fire for the uninitiated or a welcome return to the DVNE-iverse for those familiar with it – all winding sludgy riffs and rapturous bellows and atmospheric textures and soaring melodic vocals laying out what the band have now firmly established as something of a trademark sound.
Indeed, even though there is still nearly a full hour of music on Voidkind, there is an urgency to this record that arguably elevates it not only above any of DVNE’s previous work, but also that of many others one might identify as operating in a similar sphere. It’s not just that many of the tracks lurch into life as quickly as the opener, there are other factors at play here too: a breathless and desperate emotion to a track like Reliquary, for example, or even a catchiness to the likes of Reaching For Telos or the album’s fantastically chosen lead single Plērōma. Where music of this nature can so often feel overly self-indulgent or complex for the sake of complexity, DVNE imbue theirs with genuine feeling and meaning and unmistakable humanity.
2013年に亡命フランス人のVictor Vicartとスコットランド出身のDudley Taitによって
エディンバラで結成されたポスト・メタルのプログレ・スラッジ職人
2nd