From the very first moment I heard “Straight Lines”, I knew there was something special about VOLA. Up to the point of that song’s release, I had only heard murmurings of the group prior. A friend of mine nudged me to listen to the track upon its release, saying that I’d like it. The moment that mesmerizing 3/4 groove kicked in, I understood. I was entranced from start to finish. The slick, bouncy chunk of its main riff; the uplifting key change in its chorus; the djenty chugs melded with sly harmonics in its second verse; it was an experience to behold. It felt so fresh.
I immediately tried to find out all I could about Witness. I went back and listened to initial single “Head Mounted Sideways” and was floored by its textured synths married with the dark, djenty vibe of the whole thing. A much heavier affair than “Straight Lines” to be sure, but one that was no less jaw-droppingly pretty or creative. A similarly gorgeous, synth-laden chorus existed on this cut, too. Along with it, though, was this absolutely monstrous thall-esque breakdown. Paired with a harrowing, reverbed scream from vocalist/guitarist Asger Mygind, the instrumental work here is absolutely bone chilling. And with that, the hype train had left the station. Still around five months out from release at this point, it felt so close yet so far.
Then came “24 Light-Years”. I was so uniquely incapsulated by this track upon its release. The synth work, the vocal melodies, the percussive electronics. Every single element here comes together in such a beautiful way. “24 Light-Years” may be one of the most stunning metal-adjacent tracks ever written, breaking up the progressive riffing of its two preceding tracks for a moment of reflection, a moment of reprieve. Its huge emotional payoff in its final chorus with its rapid-pace drum work further adds to the track’s brilliantly climactic feel, with its last minute or so genuinely making you feel like you’re traveling at light-speed through space. Far and away being my favourite track on the album, and one of my overall favourites of the year so far, “24 Light-Years” has set a whole new standard for prog ballads.
With that said, I’m happy to report that much of Witness follows suit with the immense expectations it set up with its stellar singles. Soaring prog metal anthems, aplenty and welcome as they may be, end up being only one of the many tricks under VOLA’s sleeves.
Fourth track and late fourth single “These Black Claws” is the first significant curveball on the record. Initially trading the album’s galaxy-sized prog metal instrumentation for a low-key, groovy hip-hop inspired instrumental, the song then explodes into a pummelling wall-of-sound djent riff before quickly reigning itself in, returning to the stripped back vibes of its introduction. The song carries these contrasting yet complimentary elements throughout, with its gargantuan chorus serving as the official place for the track’s punishing main riff. The track’s verses lean all the way into its hip-hop aesthetics, with its second verse containing a masterfully utilised vocal feature from American rapper SHAHMEN. It’s a dark, lyrical and surprisingly fitting style for a track, and one that showcases VOLA’s pure musical range in a truly unexpected way.
Late-album track “Stone Leader Falling Down” sees VOLA venture further into their heavier roots. Much like “Head Mounted Sideways”, the track leans into monstrously heavy thall riffage, serving as far and away the heaviest cut on Witness. Mygind growling “down” as the track descends into pure djenty madness in its breakdown exemplfiies the album’s ‘less is more’ approach to harsh vocals. Being one of only a few moments in which the vocal style is used, it creates a tangible impact that I fear would be lost if the album had utilized screams more. It truly speaks to and effectively represents just how deeply considered and well-paced many elements of Witness are. Many of VOLA’s calling cards being present on this record aside, it feels like a true concision and mastery of their sound.
As much as I am gushing about Witness, it’s absolutely not all perfect. Fifth track “Freak” admittedly feels rather out of place on the record. For much of this album’s content feeling considered, calculated, and like each song has its own place as a part of the album’s experience, I struggle to find a place for “Freak”. Much like “24 Light-Years”, the song takes a more melodic approach to VOLA’s sound. However, given “24 Light Years’” very existence, it calls into question the track’s place on Witness, feeling like ‘the slow, melodic one’ on an album that arguably had a much better attempt at that sound just two songs prior. Don’t get me wrong, “Freak” is still a gorgeously composed track, and absolutely one worth listening to, but it doesn’t feel as if it earns its place versus many of the other tracks on the album.
That aside, VOLA’s Witness is an absolute prog-metal gem. At just nine tracks, part of me wishes it was longer, as I truly can’t get enough of its sound. Though, much like I stated in my review of Hail The Sun’s recent effort, I admit it may lose its sense of acute concision that comes with such a dense track list. Many of the tracks on Witness sit atop my very favourites of the year so far, and while “Freak” may not live up to the insane bar of quality set by the rest, that doesn’t discredit how much they earned that standard in the first place. Witness is available May 21st via Mascot Records, and you can purchase the album here.
9/10