DVNE - Voidkind

DVNE (pronounced Dune) is a progressive sludge/post-Metal band from Scotland who formed in 2013 under the moniker Dune before changing the spelling in 2015.  “Voidkind” is their third full-length album, in addition to having three EPs and a live album under their belt. 

DVNE’s music is as sprawling as their sci-fi subject matter and their talent is near alien because it is damn near unbelievable. This album has staggering depth and there is a lot to unpack across the ten songs and 58 minute runtime.  

Their brand of sludge includes other influences as well, including doom and psychedelic.  All these sounds are fused together and presented in music that is rich in texture and complicated.  Despite that, their sound isn’t pretentious nor bloated with unnecessary details.  In essence, even though it includes every idea ever, it remains a highly focused album that flat out rocks. 

The vocals are as varied and dynamic as the music, featuring growls, shouts, and wonderful usage of cleans.  I’m not sure if it's the same guy or not but whoever is involved, does a great job in making the vocals and lyrics as colorful as the music. 

Thankful, the production/mix/mastering captures all the many details that make up the music.  Every instrument, every note, is placed perfectly next to the other ones—nothing sounds muddle, tiring, or too compacted…this is an album with a very wide open and expansive sound.

“Summa Blasphemia,” opens the journey with a dizzying groove that goes hard from the first second.  The subtle keyboards are just what is needed to add another dimension to sound without overpowering what is already there. 

The way the song switches to a catchy segment with vocals and crashing drums is one example of how well the band is constantly coming together.  This song is a mighty opening track because it showcases the synergy of the band and their confidence not only in themselves but in each other.   

“Reaching For Talos,” begins with utterly fantastic drums.  The cleans reach for the skies, never having to strain over the instruments.  The guitars/bass are deep, balancing melody with a sludgy doom that stretches outside the confines of the genres even while honoring them.  After a crushing groove and deep growls, the song strips itself away to more “simple” instrumentation just so it can ramp back up.

Interludes notwithstanding, “Sarmatae,” is the shortest song on the album and, consequently, the most direct and straightforward.  It may not be as ‘epic’ as the other songs but it is no less adventurous and provides a good overview of what the album is all about.  The bass in particular slaps but the guitars offer riffs for days, especially near the end around the 3:05 mark.  

The album doesn’t ever let up, with a couple of the final songs being among the best.  “Abode of the Perfect Soul,” has a main groove that will twist your head off.  The bass is dense, as are the drums.  This stalwart foundation keeps the song alive as the band builds a monstrous city on top.  I love how the vocals switch from extreme to gentle cleans as the drop of the hat, with the musical complementing both styles.  The band is at their best when they flow like this, an effortless march of ideas that change and grow as they come. 

The final song is “Cobalt Sun Necropolis,” is absolutely wonderful song.  It builds up nicely, steady and smooth.  The contrast of the heavy riffs against the cleans are magical.  The middle part with the screams and growls is just as effective, a coming storm.  The later half is crazy riffs and clever drumming with extreme vocals to compliment the controlled chaos.

All in all, DVNE’s “Voidking” is a utterly impressive album.  Fans of any type of abrasive music and/or progressive structures must put this on their radar.  It is simply one of the best albums I’ve heard this month.