Every band has a formula they adhere to, regardless of the genre so it all comes down to how they'll utilize it or in some cases change it. At the end of the day, music is repetition of certain sounds in a certain way. Sounds simple enough but as both you and I are aware, there are limitless ways of approaching it. The relevancy of this stems from Vola's most recent effort Witness which made me think about "formulas" in bands but more on that later. I won't lie, I've been a big fan of this Danish quartet ever since I discovered them three years ago, a few weeks before dropping "Smartfriend" so some levels of bias are present but isn't that a given considering music (and art in general) are defined by subjectivity?
Anyhow, let's avoid that rabbit-hole for now because I'll definitely cover that eventually and focus what's in front of us. For the uninitiated Vola play a huge role in spearheading a new-ish movement in prog metal which revolves around making catchy but technically proficient music. Sounds like it was done before and it was but not in this way. Instead of wanking about before dropping a subpar chorus like Dream Theater, Vola looked at good ole' pop, electronica and djent and melded all of this (and more) in a way that became more of their own as their career progressed (pun intended).
Witness in particular sees them rounding up everything they've done up to this point in an extremely, extremely satisfying way but also sets the groundwork for the future. Let me give you a simple example.
Opener "Straight Lines" breaks down the door with massive djenty chugging that's countered with wonderful synths and Asger's buttery smooth voice. You're pretty much locked in since the get go since it's such a pleasant combination of heaviness and warmth but then the chorus arrives. First of all the build up to it is great but it's a bit misleading. Misleading not in a way like there's no release present, on the contrary, we even get a lil' scream before the drop but as my good friend said, the chorus is really weird. Initially I didn't quite get what he meant with that but then it clicked. First of all, its first appearance is short with no repetition which is followed by another extremely groovy section. Only after that does it appear again before repeating with a completely different instrumentation. They basically turned the chorus into a bridge that's then followed by a sick synth solo and only then does the chorus repeat "properly".
It's these clever songwriting tricks man, you hear something is strange and cool but can't put your finger on it unless you pay attention or spend some time revisiting.
It's not just "Straight Lines", the whole record is filled with these brilliant little moments. The sick crash hits during "Stone Leader Breaking Down's" breakdown, shift towards a trap-inspired beat on "Future Bird", insane keyboard action on "24 Light-Years", I could go on for a long time. What does all of this entail? It's quite simple, Vola are really fucking good at writing songs. Not just prog metal/pop, ANY song. Wanna hear the best not-nu-metal-but-totally-nu-metal banger depicting addiction without any cringe or infantile angst? Here, have some "These Black Claws" featuring SHAHMEN. No? Okay, want some amazing Meshuggah-inspired chonkyness? "Stone Leader Falling Down" is here for you. Hm, maybe that's too hardcore, how about a dreamy ballad-type meditation on poor parenthood? Boom, "Freak". OK so they're diverse and know the fundamentals for songwriting but so are many other bands, what's your point?
Very glad you asked, fictional counterpoint-giving me that makes these transitions easier! The point is that Vola remain sonically consistent in face of all these stylistic choices, to a point of creating a style that is uniquely theirs. And while this was present on both Inmazes and Applause Of A Different Crowd to certain and differing degrees, Witness fully delivers on the potential both of those records showed and had.
A significant part of this success, apart from the things I mentioned already is the production. Every Vola record to this point was produced by their vocalist/guitarist Asger Mygind but mixed by another person and this trend did not change here. This time however, Jacob Hansen took care of mixing and mastering duties and and damn did he do a wonderful job. All the weight and heft is present but never overpowering or suffocating. And the industrial tinge that defined Inmazes returns albeit with more warmth and balance that was frankly quite needed. The drum sound deserves a mention due to its size. They sound truly massive, the kick and snare even more so which guarantees that we don't miss all the insane ghost notes and kick patterns Adam Janzi loves toying with.
Even with all that said, I am elated to finally hear the bass in its full glory. Nicolai Mogensen plays such a huge part in the band's sound and here we don't have to focus that much to hear his playing. Case in point: "Napalm".
How about that tone huh? Killer playing too, so creative. Granted, each member is which brings me to my next point of praise. Where most prog bands showcase creativity through flamboyant and technical sections that focus on just one member, Vola instead have each member do a little flourish somewhere during a song whilst or have a fun section where more play off each other. I mentioned some of these above already but to show you one I really like and which prompted me to this video, check out what's happening from the third minute onwards.
So many bands in this genre forget to have fun not these guys which reflects wonderfully in their music and in turn me when listening to it as well as many others.
Now coming back to the formula thing, Witness continues the great trend of clever pacing that also defined Applause Of A Distant Crowd. Granted, their overall energy is quite different, especially starting-wise but I noticed their attention to flow. For example on Applause we had "Smartfriend" transitioning into "Ruby Pool" and here we've got "Head Mounted Sideways" into "24 Light-Years". Both of the heaviest tracks are followed by ethereal yet rhythmically complex ones before moving into more electronic territories. Really cool stuff. I'll cease with my very positive rambling there and point out the only thing that bugged me. Ironically, it's not the album, it's the way it was released.
Unfortunately, in an era of streaming bands are inclined to hype up their stuff and then capitalize on it with continuous support which translates to stories, re-shares, reminders and all jazz. This isn't bad, far from it if the band is communicative which Vola absolutely are, Adam especially. The problem arises when you release half of your album as singles. I expressed my disdain for this approach but I completely understand it and in case of Witness this payed off. At the time of writing "These Black Claws" has 576 thousand views on YouTube and I am sure the Spotify numbers are even larger.
I know a lot of people are desensitized to these numbers, given the volume of people listening but that is a lot of ears and I am extremely glad the band is getting the traction they in my opinion deserve.
Still, releasing the first four out of total nine tracks is overkill and I'll never like it despite its necessity. When it comes to the record itself, I got nothing particularly negative to point out so that should tell you everything.
With Witness, Vola have cemented themselves as the next big thing in a genre that sometimes needs a good nudge or two and I have to say, between this and new Sleep Token, the future is looking especially bright so witness it as soon as you can if you haven't done so already.
And that about rounds everything up... or does it? Not just yet dear reader because I decided to try something a bit different! I asked a few friends/fellow witnesses (get it?) to chip in with takes of their own and they agreed so here they are!
August Kjærsgaard: Despite the irony of this album appearing way more "streamlined" than previous releases, every track on "Witness" feels like it is spinning out of control. One moment we are on the run from something unknown, later we are aimlessly floating in space. Relationships dissolve, memories drown us and these black claws come to take us. All neatly packaged with artwork that reminds us of our terminal destination.
Starfish Hospital: Since their inception, Vola has demonstrated a unique sound that lands somewhere between heavy polyrhythmic djent and poppy electronica. While Witness is ostensibly no different at first glance, it sees the band wielding their sound with more control and precision than ever. Vola has always known how to write great parts, but now they know exactly when to play them. The result is their most mature and emotionally compelling record to date.
That’s not to say that Witness is a redundant artistic statement, either. Though songs like "Head Mounted Sideways" and "Straight Lines" showcase the catchy pop metal that Vola has always done well, there are also moments that see the band perfecting the balladry they’ve attempted to lesser results on previous releases ("24 Light Years", "Freak").
Perhaps most surprising though is the role that modern hip-hop plays in the sound of this LP, which plays out in both obvious and subtle ways across this record. The tracks "These Black Claws" and "Future Bird" in particular wear this influence on their sleeve;
the former features production and a rapped verse from duo SHAHMEN while the latter utilizes autotuned vocal embellishments and a literal trap beat switch in its second verse. However, I find that the strongest inspiration hip-hop plays on this record as a whole is in the production. The sub-bass roars with urgency of trunkshanking 808, and the psychedelic approach to the way the keyboards and guitars are mixed during the softer parts of these tracks reminds me more of Travis Scott’s Astroworld than anything Vola or any of their prog metal contemporaries have ever dropped before.
Though this direction probably sounds gimmicky on paper, Vola make it work for the same reason that all of these songs work; precision and control. For one, they interweave enough electronic keyboard elements into their songs that by the time a full on electronic drum beat, or even a whole-ass rapper shows up, there is enough of a musical precedent that it doesn’t seem out of place. They’re the the kind of prog metal band that can use these elements JUST enough to lighten the mood and cultivate a Cactusjack-esque atmosphere without over stepping the line and becoming a tacky parody of themselves. Polyphia, take notes.
Witness was released via Mascot Records on May 21st of 2021.
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