Album review: Dvne – Voidkind

DVNE’s latest sonic offering, Voidkind, feels like a goddamn space opera crammed onto a CD. This colossal monument of progressive metal throws down the gauntlet for album of the year, leaving you breathless in its wake. Comparisons to their genre-bending masterpiece, Etemen Ænka, are inevitable, but Voidkind carves its own path through the cosmos – a thrilling odyssey that unfolds with every listen.

Forget the muddled mixing of Etemen Ænka; the instrumentation here is like a well-oiled machine, each part clicking into place to create a cohesive soundscape. But unlike its predecessor, the vocals now roar front and centre, demanding your attention. Gone are the days of wrestling to hear Daniel Barter’s growls amidst the sonic chaos; here, they’re your tour guide through the album’s interstellar journey.

Speaking of journeys, “Eleonora” is a prime example of DVNE’s masterful storytelling. Imagine ripping through hyperspace with the windows down, the wind whipping through your hair, only to have your ship gently nudged into a serene nebula. A hauntingly beautiful middle section that makes you feel like you’re floating through a cosmic ballet breaks up the song’s masterful progressive guitar work that could melt your face with crushing riffs. It’s a testament to DVNE’s expert use of dynamics as the band seamlessly transitions between brutality and ethereal beauty.

For those who cherished the Eastern-infused riffs of Asheran, fear not – “Sarmatæ” delivers a welcome return to that sound. And those pesky interludes that bogged down Etemen Ænka? Thankfully, they’ve been mercifully shortened and sharpened here, acting as effective palate cleansers between the album’s epic tracks.

The final stretch of Voidkind is pure, unadulterated prog-metal bliss. “Abode of the Perfect Soul” is a top contender for prog-metal anthem of the decade. Wearing its Tool influences proudly on its sleeve, the track feels fresh and organic. It’s like a sonic love letter to the genre’s greats, but with enough originality to keep things interesting. The album closes with the titanic “Cobalt Sun Necropolis,” a nine-minute odyssey that feels like the culmination of an epic saga.

While the record might not quite surpass the emotional peaks of Etemen Ænka for some listeners, it’s an undeniably impressive achievement. The band’s knack for crafting continuously evolving songs remains unparalleled, perfectly balanced between raw aggression and sonic perfection. With Voidkind, DVNE solidifies their position as one of the most innovative and exciting bands in modern metal.

DVNE Lineup:
Allan Paterson – guitars, bass
Daniel Barter – vocals
Dudley Tait – drums
Maxime Keller – keys, vocals
Victor Vicart – guitars, keys, vocals

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