“Will you carry on still staring at the sun?”
ver the last few years, Melbourne metalcore unit Void of Vision has undergone a notable amount of sonic experimentation. Moving on from the progressive-styled nu-metalcore sound of 2019’s Hyperdaze, the group released the CHRONICLES trilogy of EPs in 2022, taking the group in an industrial and alternative metal direction. The trilogy was, at least in my opinion, a mixed bag, from some of their best songs written on CHRONICLES II: HEAVEN to the unfortunately unpleasant to listen to on CHRONICLES III: UNDERWORLD. Returning for their fourth full-length, What I’ll Leave Behind, the group seek a unified sound, blending elements of past and present into one package.
One of the album’s most defining features is its mix, and it makes its presence known from the offset. Landing with a full-bodied destructiveness during its heavier moments, the resulting crush introduces a new dimension to Void of Vision’s sound. Album opener “Oblivion” wastes no time delving into the ferocity, accompanied by a layer of electronic synths. The punchy drum grooves laid down by George Pfaedner are clear and crisp, standing out amidst the hefty guitar tone brought by guitarists James McKendrick and Samuel Bassal.
Even with this full-fledged dive back into the heavier side of their earlier sound, the album’s sound is balanced out with a chorus-centric sound for most of the album. The alternative metal influences that they brought in recent years is still very much embedded into the album’s sound, but executed with a more distilled flair; straightforward, yet effective. “Supernova” lands with infectious grooves and a soaring chorus provided by McKendrick. “Blood For Blood” swings toward the heavier extreme, with hypnotic synths interspersed with its devastating impact. Frontman Jack Bergin leads the entire track with his signature shriek, despondently lamenting the loss of friends in a cathartic and chaotic release.
This style that the band has employed is effective, pairing anthemic chorus hooks with an eerie aggression. There’s a certain desperation to the album’s sound as it delves into themes of personal struggles. Bergin’s experience a ruptured brain AVM is touched on on “Gamma Knife” and “Empty”, taking a closer look at the very real emotions felt in the midst of dealing with the condition. Themes of legacy and death are expressed candidly, clearly drawing from a vulnerable place.
The album’s unified sound plays to its benefit for the most part, but there are points where it can feel too cohesive. The repetition of songwriting elements, from the electronically-layered chugs to the structure of the songs, keep the album’s overall sound connected, but also leaves it at risk of blending together. Early album cut “Neurosis” does make an effort to break away from this convention, opting for a more Neue Deutsche Härte influenced direction. Despite its efforts to vary the sound, it feels rather out of place. The band’s performance is nonetheless strong, but it would have been interesting to hear a wider range of dynamics in the album’s sound.
Album closer “Angel of Darkness” takes the album to a melodic, dancey ending. Hinging heavily on cleans from both Bergin and McKendrick, the synth heavy track is undoubtedly an interesting one for Void of Vision. While it took a few listens to really hit, it is a surprisingly effective closer in context with the rest of the album’s sound. I just wish it wasn’t released as the first single, as the track really makes the most sense when heard in tandem with the rest of the album.
In its entirety, What I’ll Leave Behind puts a strong foot forward and is a much more cohesive experience. Narrowing down on the extensive experimentation of the previous release to settle on the band’s stronger points, the result is an album that feels more unified in its purpose. Underneath the band’s uncanny aesthetic and sound lies a rather personal record, rewarding those who peel back the layers .
7.5/10
What I’ll Leave Behind releases on the 20th of September via UNFD. Pre-order and merch links for the album can be found here.