Void Cruiser - Wayfarer (2017) (New Full Album) ÁLBUM NOVO COMPLETO
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Banda: Void Cruiser
Álbum: Wayfarer
Lançamento: 2017
País: Finlândia
Gênero: Heavy Space Fuzz Metal
Though they seem to operate solely under a spaced-out thematic — members credited with “low frequency engine,” “battering apparatus,” and so on — the actual stylistic range with which Finland’s Void Cruiser operate feels much broader. Rather than simply live by the “what would Hawkwind do?” ethic, the Helsinki four-piece’s second album, Wayfarer lives up to its name in the kind of meandering path it takes between aesthetics. Space is a factor for sure, but as they play between longer-form pieces like “I Didn’t Lie but I Know Now that I Should Have” and closer “Maailman Kallein Kaupunki” and the quicker shots of “As We Speak” and “All over Nowhere,” Void Cruiser actively defy pigeonholing any more specific than catchalls like “heavy” or “atmospheric,” and set their course for variety over redundancy.
With seven tracks and a 46-minute runtime, Wayfarer is substantial but not unmanageable, and the lineup of guitarist/vocalist Santeri “S-Salo” Salo, bassist/backing vocalist Lassi “T-Hug” Tähtinen, guitarist/backing vocalist Vili “V-Salo” Salo and drummer Teemu “T-Bag” Rantanen bring considerable breadth and personality to the material, commanding the turns they’re making rather than being led by them. Further, because even songs like “Madonnas and Whores” and “Seven Years Late,” which are relatively straightforward in their structure, have a marked tonal largesse and sense of patience, Wayfarer ties together its diverse sonic proposals with an overarching spaciousness of production that makes it all the more immersive to the listener. Surprises abound, but none of the moves Void Cruiser make feel out of place in a way they’re not intended to be. Some, however, are very definitely intended to be.
The prevailing first impression is one of patience as they begin with the rumble and slow roll of the introductory “A Day on Which No Man was Born,” starting with a low-toned drone and moving into an instrumental progression of slow nod that runs over five minutes, setting the listener up for some of Wayfarer‘s more heavy psychedelic aspects as they continue to play out in the subsequent “I Didn’t Lie but I Know Now that I Should Have.” Cumbersome in its name, the second track is likewise patient in how it unfurls, blending grunge — particularly in Santeri‘s vocals — with a languid drift as it makes a chorus of its title-line in its first half before shifting post-midpoint into more of a jam, vocals and all, as they build toward a shouted apex à la Facelift-era Alice in Chains, the key difference being the depth of mix surrounding Void Cruiser and the wash of wah in the solo that proceeds to lead them out of the song over the next couple minutes.
That turn to belting it out is the first clue of Void Cruiser‘s sonic range, and “As We Speak” adds to it immediately with a classic stoner feel run through the aforementioned effects-driven spaciousness. The vocals indulge a scream that speaks to some underlying metallic influence, but “As We Speak” feels more like a Lowrider single played at two-thirds speed than anything aggressive, even in that brief moment, and at 3:32, the shortest track on Wayfarer boosts the forward push that’s been subtly working all along with its quicker tempo ending giving way to “Madonnas and Whores” as the centerpiece.
Despite ultra-prevalent low end, the beginning of the seven-minute “Madonnas and Whores” still holds to some rhythmic swing, but plays out moodier through its early verses and choruses, and the hook almost has a tinge of Southern metal as it stomps into a bridge that cuts suddenly just past the four-minute mark into a psych-jam of steady rumble and guitar noodling that comes back around in time for a full-boar solo finish into some hit-stops that bring the song to a close. Creating that feeling of unpredictability over the course of a single LP isn’t easy, and it’s commendable as a basic intention, but what makes Wayfarer stand out even more is how fluidly Void Cruiser navigate these aesthetic planes, pitting one element next to but not necessarily against the other in order to craft something more individual from them. This is a key factor in Wayfarer‘s success, but of course the occasional bit of rocking the hell out doesn’t hurt either.
Review from the Obelisk http://theobelisk.net/obelisk/2017/02...
1. A Day On Which No Man Was Born
2. I Didn't Lie But I Know Now That I Should Have
3. As We Speak
4. Madonnas And Whores
5. Seven Years Late
6. All Over Nowhere
7. Maailman Kallein Kaupunki
Support Void Cruiser by purchasing the album here https://voidcruiser.bandcamp.com/albu...
https://www.facebook.com/voidcruiser
Banda: Void Cruiser
Álbum: Wayfarer
Lançamento: 2017
País: Finlândia
Gênero: Heavy Space Fuzz Metal
Though they seem to operate solely under a spaced-out thematic — members credited with “low frequency engine,” “battering apparatus,” and so on — the actual stylistic range with which Finland’s Void Cruiser operate feels much broader. Rather than simply live by the “what would Hawkwind do?” ethic, the Helsinki four-piece’s second album, Wayfarer lives up to its name in the kind of meandering path it takes between aesthetics. Space is a factor for sure, but as they play between longer-form pieces like “I Didn’t Lie but I Know Now that I Should Have” and closer “Maailman Kallein Kaupunki” and the quicker shots of “As We Speak” and “All over Nowhere,” Void Cruiser actively defy pigeonholing any more specific than catchalls like “heavy” or “atmospheric,” and set their course for variety over redundancy.
With seven tracks and a 46-minute runtime, Wayfarer is substantial but not unmanageable, and the lineup of guitarist/vocalist Santeri “S-Salo” Salo, bassist/backing vocalist Lassi “T-Hug” Tähtinen, guitarist/backing vocalist Vili “V-Salo” Salo and drummer Teemu “T-Bag” Rantanen bring considerable breadth and personality to the material, commanding the turns they’re making rather than being led by them. Further, because even songs like “Madonnas and Whores” and “Seven Years Late,” which are relatively straightforward in their structure, have a marked tonal largesse and sense of patience, Wayfarer ties together its diverse sonic proposals with an overarching spaciousness of production that makes it all the more immersive to the listener. Surprises abound, but none of the moves Void Cruiser make feel out of place in a way they’re not intended to be. Some, however, are very definitely intended to be.
The prevailing first impression is one of patience as they begin with the rumble and slow roll of the introductory “A Day on Which No Man was Born,” starting with a low-toned drone and moving into an instrumental progression of slow nod that runs over five minutes, setting the listener up for some of Wayfarer‘s more heavy psychedelic aspects as they continue to play out in the subsequent “I Didn’t Lie but I Know Now that I Should Have.” Cumbersome in its name, the second track is likewise patient in how it unfurls, blending grunge — particularly in Santeri‘s vocals — with a languid drift as it makes a chorus of its title-line in its first half before shifting post-midpoint into more of a jam, vocals and all, as they build toward a shouted apex à la Facelift-era Alice in Chains, the key difference being the depth of mix surrounding Void Cruiser and the wash of wah in the solo that proceeds to lead them out of the song over the next couple minutes.
That turn to belting it out is the first clue of Void Cruiser‘s sonic range, and “As We Speak” adds to it immediately with a classic stoner feel run through the aforementioned effects-driven spaciousness. The vocals indulge a scream that speaks to some underlying metallic influence, but “As We Speak” feels more like a Lowrider single played at two-thirds speed than anything aggressive, even in that brief moment, and at 3:32, the shortest track on Wayfarer boosts the forward push that’s been subtly working all along with its quicker tempo ending giving way to “Madonnas and Whores” as the centerpiece.
Despite ultra-prevalent low end, the beginning of the seven-minute “Madonnas and Whores” still holds to some rhythmic swing, but plays out moodier through its early verses and choruses, and the hook almost has a tinge of Southern metal as it stomps into a bridge that cuts suddenly just past the four-minute mark into a psych-jam of steady rumble and guitar noodling that comes back around in time for a full-boar solo finish into some hit-stops that bring the song to a close. Creating that feeling of unpredictability over the course of a single LP isn’t easy, and it’s commendable as a basic intention, but what makes Wayfarer stand out even more is how fluidly Void Cruiser navigate these aesthetic planes, pitting one element next to but not necessarily against the other in order to craft something more individual from them. This is a key factor in Wayfarer‘s success, but of course the occasional bit of rocking the hell out doesn’t hurt either.
Review from the Obelisk http://theobelisk.net/obelisk/2017/02...
1. A Day On Which No Man Was Born
2. I Didn't Lie But I Know Now That I Should Have
3. As We Speak
4. Madonnas And Whores
5. Seven Years Late
6. All Over Nowhere
7. Maailman Kallein Kaupunki
Support Void Cruiser by purchasing the album here https://voidcruiser.bandcamp.com/albu...
https://www.facebook.com/voidcruiser
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