VOLA

Stylistically "Paper Wolf" pretty much continues the slick, polished, and melancholic rock/metal style of the material found on "Witness". So if you´re familiar with "Witness", you won´t be surprised by what you hear when listening to "Paper Wolf". Asger Mygind´s strong and paatos filled vocals dominate the track, and atmospheric keyboards and electronic effects are complimented by mellow/loud dynamic rock and metal sections. It´s not a particularly heavy track, but Vola still produce some relatively heavy riffs and rhythms when that is called for.

"Paper Wolf" is a well produced track (produced by Mygind and mixed and mastered by Jacob Hansen) and a nice little breather before Vola opt to record and release their fourth full-length studio album. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

Stylistically this is unmistakably the sound of Vola. Melancholic and atmospheric rock/metal with the strong and paatos filled vocals of Asger Mygind in front. Influenced greatly by artists like Katatonia, Riverside, and fellow Danish art/progressive pop/rock act Mew (although the influence from the latter was stronger on the preceding album). Compared to the more mellow and electronic tinged "Applause Of A Distant Crowd", Vola have opted to include more heavy distorted guitars and heavy drumming again like they had on their debut album. Keyboards and electronic effects are still a big part of the band´s sound as well as atmosphere enhancing choirs and harmony vocals. The tracks are predominantly vers/chorus structured and for the most part easily accessible. The strong melodies and melancholic atmospheres are the greatest assets of Vola´s music.

The album features a gorgeous, polished, and powerful sound production, which perfectly suits the material. This is not the type of music which would benefit from a more gritty and raw sounding production job. So upon conclusion "Witness" is another high quality release from Vola. To my ears it´s maybe a bit too formulaic and a few more musical experiments wouldn´t have hurt (including a rap part on "These Black Claws" does not qualify as being experimental IMO). A 3.5 star (70%) rating is still deserved though.

(Originally posted on Metal Music Archives).

The material on "Applause Of A Distant Crowd" is, although it´s not as heavy and riff oriented as the material on "Inmazes", and generally features more electronic pop/rock music influences, still the sound of Vola. Melancholic and atmospheric rock/metal with the strong and expressive vocals of Asger Mygind in front. This time around just focused less on heavy riffs and rhythms (although they do appear on some tracks like they do on "Smartfriend"). Katatonia is an obvious influence (the Norwegians in Manes could be another valid reference and other times the Polish in Riverside), but also fellow countrymen in Mew are a big influence on Vola´s sound. Vola is often described as a progressive rock/metal act, but they are generally (at least on this release) a pretty straight forward vers/chorus structured rock/metal act with big catchy melancholic choruses, sophisticated choir- and harmony vocal work, and a great understanding of songwriting dynamics. There are a few exceptions on "Applause Of A Distant Crowd", where Vola treat themselves and their audience to some unconventional time-signatures and some pretty heavy riffs and rhythms, but it´s not the dominant sound on the album.

While some listeners may miss the heaviness of the debut album, this slighly more mellow and electronic tinged sophomore release is still a high quality album, which is wrapped in a powerful, clear, and detailed sound production, which perfectly suits the material. The melancholic melodies and atmospheric songwriting approach work really well, and although not used that much on this release, the heavy riffs and rhythms occasionally provide some needed bombast and edge. It is overall a soothing, beautiful, and mellow melodic rock/metal release though, so don´t come to this expecting something that´ll kick your teeth in. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

Although especially the "Monsters" EP featured some pretty high quality material, it´s obvious when listening to "Inmazes", that Vola were only in their formative stages as a band, when they recorded and released the three early career releases. They weren´t finished developing their sound and style, and "Inmazes" in all departments sounds much more fully developed and well thought out, than any of the preceding material from Vola.

Stylistically Vola play a melancholic and atmospheric rock/metal style which features both mellow and epic melodic sections and harder hitting and heavy chugging sections. The strong voice of lead vocalist/guitarist Asger Mygind and the catchy melody lines and supporting choirs and harmony vocals are great assets of the band´s sound in addition to the well composed and memorable tracks. It´s interesting to note that in addition to foreign artists like Katatonia and Porcupine Tree, who are obvious influences on Vola´s music, there is also a strong influence from fellow countrymen Mew. The track "Gutter Moon" is almost an ode to Mew or at least strongly influenced by the quirky progressive pop/rock melodies of that band ("Owls" is another example). The Mew influence is heard pretty much throughout the album when Vola don´t play their most heavy parts, then it´s other influences who are at play.

"Inmazes" features a clear, detailed, and powerful sounding production, and it´s a sound production perfectly fitting the material. Upon conclusion "Inmazes" is a strong debut album from Vola, and they immediately land on their feet with this release. They had a few years and releases building up to this album, and this is the perfect culmination of those years and the efforts made to come to this place. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

Vola pretty much continues the electronic/keyboard tinged mellow rock/metal style, which is occasionally spiced up by heavier chugging metal sections, which they initiated on "Homesick Machinery", but they´ve become both heavier and more hard hitting while also becoming more pop/rock mainstream oriented, which is a bit of a feat really. I´m not sure how they do that, but it works pretty well with the heavy riffs and rhythms and the melodic and melancholic atmospheric pop/rock oriented sections. Some tracks work better than others, but when Vola strike the right balance between the mellow/melodic and the heavy, they strike gold (like they do on "Controllable"). I´m sometimes reminded of a less progressive oriented Caligula´s Horse, because of the balance and dynamics of the music.

"Monsters" features a high quality production job. Powerful, detailed, and dynamic. A professional sound production like this one is needed for Vola´s music to be given the best conditions to shine. This kind of music wouldn´t work with gritty and murky sounding production values. Compared to the otherwise good quality of "Homesick Machinery", Vola have taken a good step forward on "Monsters". Some of the immaturity of the songwriting and the production techniques of the debut EP have been weeded out here, and the added heaviness suits Vola well. A 3 - 3.5 star (65%) rating is warranted.

(Originally posted on Metal Music Archives).

Stylistically "Glasswork" is a melodic rock song which is relatively straight forward and features a melancholic atmosphere, some nicely melodic lead vocals, choirs, and harmony vocals. But typically for Vola the song gets heavier towards the middle and the melodic rock is succeeded by heavy yet still atmospheric and slow building riffs and rhythms, before "Glasswork" ends in a more mellow style. Personally I find the first couple of minutes of "Glasswork" a bit pedestrian and mainstream pop/rock oriented, but fortunately Vola manage to surprise the listener with more progressive songwriting ideas as the song progresses. "Glasswork" is a well produced release too, and upon conclusion it´s a nice little stop gap release between their two early career EP releases. A 3 star (60%) rating is warranted.

(Originally posted on Metal Music Archives).

Considering the fact that this is an independently recorded and released EP, Vola have produced a pretty well sounding EP. The sound production is clear, detailed, and powerful (although the heavy parts could have benefitted from even more power and punch). Stylistically Vola are a pretty eclectic act and they play everything from mellow electronic tinged rock, to 70s influenced hard rocking sections, to chugging heavy riffs and rhythms. Keyboards are omnipresent as are the melancholic vocals and strong expressive voice of lead vocalist/guitarist Asger Mygind. Another dominant and important part of Vola´s sound are the many beautiful choirs and harmony vocals.

"Like The Rainbow" opens the EP and it´s a nicely melodic and catchy song, which isn´t very heavy until the last minute of the song, and that´s how the other tracks are too. A good combination of mellow melancholic sections and heavier sections, which provide the music with some light/dark dynamics. A slightly more uplifting and more easily accessible Katatonia isn´t the worst description of Vola´s music, although Vola aren´t clones (artists like Porcupine Tree and Riverside could also be mentioned). If you´re familar with 2000s and 2010s Danish rock acts like Turboweekend, Spleen United, and Mew, some of the elements of Vola´s music could also be influenced by artists (and fellow countrymen) like them, although Vola are of course a much heavier act.

Upon conclusion "Homesick Machinery" is a good quality first release from Vola. Even this early on they show great potential and of course both playing skills and understanding of the dynamics of composing an effective and catchy rock/metal tune. A 3 star (60%) rating is warranted.

(Originally posted on Metal Music Archives).

1. "The Same War" (5:19) opens with some truly abrasive industrial djent sound before opening up into a full-on TOOL-like onslaught. When the vocals of guitarist Asger Mygind enter I am immediately struck by the similarity of his tone and sense of melody to that of David Gahan of the 1980s New Wave band, DEPECHE MODE. I need to point out that throughout the album the work of the bass, drums, and djent guitar play is absolutely top notch and amazing. I love the unpredictable syncopated and multi-octave guitar melody at the four minute mark. (9/10)

2. "Stray the Skies" (4:13) opens rather melodically, hooking the listener in with the album's most haunting melody, before sliding into a very heavy, very djenty, almost abrasive A Section. The Chorus returns us to the opening melody and synth chords, but then the following section becomes even more sparsely djenty. Back and forth the music goes, start to finish. Awesome contrast! (9/10)

3. "Starburn" (6:05) opens with some spacey atmospherics joined by an electronic tuned percussion arpeggio before the djent crew brings down the wrecking ball. This one even incorporates some vocal growls/screams. The shift at 1:55 into the melodic and harmonic realm of 1980s New Wave is a bit incongruous and perhaps denotes the weakest moment/transition of the album--the only place where the djent-New Wave partnership might not work. The prolonged guitar djent chord play that plays out over the second half of the song is interesting but never really goes anywhere new or fresh. Unfortunately, this is the album's low point. The good news is: it is virtually its only one! (7/10)

4. "Owls" (5:51) opens with a prolonged TOOL-like drum, bass and guitar section. When the vocalist joins in the band once again tries to marry the melodic, almost syrupy New Wave vocals with the abrasive, syncopated and less-than predictable staccato of its djent rhythm section. Here it works pretty well. Early SIMPLE MINDS on steroids. (8/10)

5. "Your Mind as Helpless Dreamer" (5:21) opens with perhaps the most high energy, ambitious rhythms and pace. Fast-paced midi-ed keyboard chords join in (in a NEW ORDER kind of way) while the vocals are presented with a much heavier, more aggressive fashion--very similar to the wonderful sound and work of Australia's KARNIVOOL. This song is working and barreling along on all cylinders! (10/10)

6. The delicate and techno-edgy "Emily" (3:01) plays out like a very emotional Roland Orzabel (TEARS FOR FEARS) masterpiece--though it has strong DEPECHE MODE leanings, too. Beautiful song. (10/10)

7. "Gutter Moon" (3:55) opens with a treated (compressed) keyboard riff before spilling out with some rather restrained djenty-yet-fuzzy bass and guitars. The B section takes on more of a DREAM ACADEMY/PREFAB SPROUT feel and synth pop sound. Then the djent rhythm section comes out in almost full force as the melody, vocals and synth keys sustain their 1980s sound and feel. Nice, interesting song. (9/10)

8. "A Stare Without Eyes" (4:58) opens heavily, though compressed, before settling into a melody sounding very much like a DEPECHE MODE song, just heavier. The lead vocal starts out heavily treated before coming somewhat forward for the first chorus. By the second A Section all holds have been taken off of the vocal, the song remains heavy but still retains this familiar DEPECHE MODE feel to it--as if the Mode merely upped their angst and aggression and let it show in the treatments of their instruments. Not quite as catchy with melodies here, but a good song. (8/10)

9. "Feed the Creatures" (5:37) opens heavily before letting all abrasive sounds drop away in lieu of sustained organ chords and computer-pop noises acting as percussives to support the delicate Jonas Bjerre (MEW)-like vocals. The heavy chorus at the three minute mark followed by the delicate piano chords and gorgeous soft vocal over the heavier TEARS FOR FEARS-like electro-rhythms is brilliant! Amazing! Great song. GReat blend of sounds and technology of the 80s, 90s and 21st Century. (9/10)

10. "Inmazes" opens with an odd keyboard pulsing between two chords in a straight time before it is joined by fairly straightforward electric guitar playing a fairly dissonant and discordant arpeggio. The tension is enhanced when the full band joins in with its full heaviness and PORCUPINE TREE-like sound (think "Blackest Eyes") and odd time signature playing over the still audible, still pulsing odd keyboard of the opening. The vocals that ensue are very much in the vein of those of DEPECHE MODE's David Gahan or even NEW ORDER's Bernard Sumner. I like the long, even outro, too. Great song! (9/10)

A wonderfully refreshing album from a group of young Danes who are attempting something quite ambitious in their blend of New Wave techno-synth pop with TOOL/MESHUGGAH djent. The point is: They succeed! Wonderfully!

B+/4.5 stars; a near-masterpiece of progressive rock music.

Witness is a record built to please the earbuds. It's a highly vocal-centric album, with huge vocal melodies that are catchy and emotional. Lead vocalist Asger Mygind's mellifluous singing is perfectly executed, halfway between falsetto and warm tenor, and with the right amount of vocal effects added to the production to give an electronic and futuristic feel to his voice ("Head Mounted Sideways"). The instrumental background is carefully arranged to exalt the vocal melodies. The guitars play a strongly rhythmic function, with plenty of palm-muted, down-tuned chugs that complement the intricate and hypnotizing grooves of bassist Nicolai Mogensen and drummer Adam Janzi. Meanwhile, Martin Werner keeps his synthesizers busy to add subtle electronic overtones to the songs, again giving the music a strongly modernist vibe.

There are plenty of references to many other contemporary rock and metal acts. The recent work of bands like Leprous, Tesseract, Haken, Agent Fresco, Caligula's Horse, and Voyager all provide suitable reference points for the overall sound of the album, carefully balanced between djenty aggression and highly accessible melodies. Elsewhere, the influence of Porcupine Tree surfaces on songs like "Freak", especially in the gorgeous, carefully arranged backing vocals harmonies. Countrymen Mew are another influence when it comes to the smooth vocal melodies. "Stone Leader Falling Down" pushes on the accelerator introducing some quasi-growls, for what is probably the heaviest piece of the LP. Meanwhile, "These Black Claws" flirts with hip hop and rap music and features a guest spot by Dutch hip hop duo Shahmen. This is perhaps the most daring episode of the whole album. Considering that metal bands have been experimenting with rap and hip hop for at least two decades now, this gives a good measure of how few boundaries this album actually pushes.

This is eventually my main gripe with Witness. I cannot shake off the impression that everything here is being played in the safest possible way, taking as few risks as possible and trying to please as many fans as possible. There's nothing wrong with trying to increase one's fanbase, of course. But I get slightly uncomfortable when I sense that this was the main driving strategy behind the songwriting. Because almost inevitably this implies a sacrifice in terms of depth and originality. Alas, Witness is no exception and it is hard to get past a feel of vague déjà-vu as one goes through the 44 minutes of the album. Witness sounds exactly as you'd expect a near-perfect progressive djent metal to sound. This is, in a sentence, the main strength and main weakness of the record.

1. "Straight Lines" (4:22) after an awesome opening, the song develops like a heavier BROTHER APE tune until 1:45 when there is an interesting turn before settling back into a variation of the opening rhythm for the second verse and chorus. Some cool little twists in the second half keep it lively and interesting. We're off to a good start! My first top three song. (8.75/10)

2. "Head Mounted Sideways" (5:34) the djenty bass and guitars are amped up for this one--a kind of industrial metal sound. Synths and synthesized vocal continue the industrial future vibe before the "normal" voices and sounds appear for the chorus. As with the previous song, there are some very cool and interesting twists and turns-- including a CURT SMITH-like vocal in the hushed middle and the thick synth-chords used for the instrumental solo section after the second chorus--and then the long-sustained growl-scream in the first half of the fifth minute. Great ending. Excellent song. A top three song for me. (9/10)

3. "24 Light-Years" (4:32) opens with heavily treated chords of glass/toy piano-sounding percussives before tom-tom rhythm is established with synth for Asger to sing in a very sensitive, airy voice. Very different from the other songs on the album--especially with its spacey, non-djenty foundation. Even when the djenty sounds do enter--in the third minute--they're controlled to take up less space. Interesting. (8.5/10)

4. "These Black Claws" (5:52) another odd opening with synth riffs and drum machine leading the way for the first sparsely populated 20 seconds. Then it seems as if all hell breaks loose as a wall of djent chords fills the soundscape. But then, surprise, the djent stops and we return to the odd, untuned synth motif of the opening over which Asger sings--until rapper Shahmen adds his shtick. Creative but weird. I'm not convinced that this works. Even after repeated listens--as I get used to the weirdness--I'm not finding myself anymore enamored (or repelled)-- though I have found myself really enjoying the heaviness of the final 90 seconds. (8.5/10)

5. "Freak" (4:50) backing away from heaviness, the band steps back into a kind of modern TEARS FOR FEARS sound for this one. Perhaps a little mores spacious and simplistic than a Tears song, the melodies are allowed to win out on all levels here. Nice little Steven Wilson feel during the guitar solo. A pleasant, innocuous song that, unfortunately, does nothing great for me. Would that I hear the lyrics. (8.5/10)

6. "Napalm" (4:58) great bass lines and keyboard play. Not my favorite vocal--and definitely not a great chorus-- which is then repeated ad nauseum. (8.5/10)

7. "Future Bird" (4:35) stripped down music-scape over which Asger sings in a sensitive voice during the first verse. The band amps up for the chorus before shutting down for a very cool little transition back to verse #2--over which Asger continues to sing in his pleasing voice. Very nice sound with some really nice touches but, ultimately, the song doesn't really go anywhere--even uses an overly-long fade over the repeating chorus to end the song. (8.75/10)

8. "Stone Leader Falling Down" (4:23) sounds like Proghma-C during the first verse. Keyboard strings drench the soundscape during the chorus. Vocal sounds like 80s Tears for Fears and/or Depeche Mode. Cool instrumental coda at the end of the third minute. (8.75/10)

9. "Inside Your Fur" (5:00) opens with music that sounds almost exactly like that of the previous--especially in the rhythm section. Love hearing Asger's voice during the quieter first verse. I love the tuned percussion interlude at the end of the third minute before returning to the amped up chorus. Great composition, top to bottom. A top three song for me. (9/10)

Total Time 44:06

I remember feeling so disappointed with the way Asger backed off on his vocal intensity--how the vocals were mixed so deeply within the weaves of many of the songs on 2018's Applause of a Distant Crowd as compared to those of their debut, Inmazes.

B-/3.5 stars; an interesting collection of sophisticated and nuanced songs. Recommended for fans of their previous albums.