“A not so gentle reduction of thought.“
Just shy of one year since dropping the excellent Null, KEN Mode returns to darken the mood. Described as a “companion piece”, Void stems from the same sessions to offer a slightly different perspective. Consider this the Amnesiac to Null‘s Kid A, to use an extreme example. While I highlighted Null‘s “suffocating atmosphere”, Void apparently offers a “decidedly more melancholy and disappointed aesthetic.” Hard to imagine, but this band would be the one to live up to this kind of promotion.
I need this to stop,
You can’t keep coming back.
This cyclical nightmare,
An altered state under attack.
Things start off with “The Shrike”, which also served as the lead single. Instead of the immediate pummeling of “A Love Letter”, it presents a slightly sludgier side. The classic dynamics stand out, from a driving bassline to Jesse Matthewson‘s barking timbre. It makes for one of the more memorable songs on the album and a worthy introduction.
Slight, misted perception,
Pulsating pains, this hopeless endeavor,
You are depleting me, a tarnished punishment,
Lost in this cyclical thought.
“These Wires” ends up as one of the songs here that stands out the most. Amidst a slow-paced start, the vocals come in semi-spoken word initially. As it progresses, so too does the tempo and the immediacy of delivery. In that way, it starts to feel a bit formulaic, at least in the context of these recordings. Even so, the occasional plink of a piano helps to create atmosphere, and some of the riffs stands out as incredibly well-composed.
The heat is gone.
I’ve only got so far that I can fall.
None of it will be remembered,
None of it deserves any recollection, after all.
“He Was A Good Man, He Was A Taxpayer”, the second single, might be the most standard offering here. Even after a few listens, it didn’t leave an imprint to the same degree tracks like “These Wires” and “We’re Small Enough” did – the lyrics prove prophetic in a sense. On the other hand, finale “Not Today, Old Friend” really slows things down. The “whether or not I even remember your name” refrain ties the album thematically and closes things out on a high.
By nature of this album being a part II, some of the perceived essentiality seems lacking. In particular, the overall aesthetic comes across as nearly identical. The sound itself remains incredibly tight and makes for a great total package, but Null stands out where this album doesn’t get there as often. Still, in a vacuum, Void does make a strong case as a compelling listen and worth the time invested.
7/10
KEN Mode – Null is out September 22nd on Artoffact Records and can be pre-ordered here.