Review Summary: How do you follow on from a modern classic? Voices put on a masterclass with their follow up to London.
How do you follow on from a classic album？ The oft-forgotten price of success is expectation and it’s this pressure that has followed British extreme metal band Voices ever since the release of London, their modern extreme metal masterpiece. So, with their latest release, Frightened, have they tried to catch lightning in a bottle for a second time？ Or was it time to make a change？
In the case of Voices, the band formed by Akercocke members after the latter’s 2012 split, Frightened is about reinterpretation. The dark heart of the bands latest effort is the same one that pumped oily blood through the twisted extremities of London. The way that the band have expressed this core in Frightened, however, has changed in quite dramatic ways.
Opening with the brooding “Unknown”, we're instantly introduced to a far more gothic atmosphere, as eerie clean guitars lay over the chants of a subtly hellish choir before vocalist Peter Benjamin makes himself known with a tortured melodic repose. Though before the listener has a chance to think that Voices have pulled a Paradise Lost and gone full Host, elements of the band's more extreme past leak back into the sound, with familiar angular composition being combined with the dark gothic pop to create a fresh and vital sound; one that retains the soul of past glories without simply repeating it. This combination of danceable Gothicism and the unique progressive black metal styles of Voices' past works is a central theme on this release; part Bauhaus and part Burzum if you will – though with arguably a stronger leaning to the former.
Moving on from the statement of purpose that is “Unknown” we reach the second track “Rabbits Curse”, which is easily the most experimental track on the album. With a heavy focus on chaotic instrumentation and monotonal vocals, the track struggles to draw the listener, especially when compared to the tracks that follow.
“Evaporated” brings us the closest to the sound of previous efforts, but even then it is filtered through a goth rock sound; with progressive metal riffs being played with a tone more at home on a Siouxsie And The Banshees record and features an infectious middle section that sounds like the lovechild of Killing Joke and middle period Katatonia.
Comparisons to goth rock and pop legends continues throughout Frightened. “Dead Feelings” while it starts with chunky distorted riff moves back into the goth-pop vibe with a grim, but catchy, track that The Cure would have loved to have released in their heyday while “Manipulator” has whiffs of a Type O Negative cut that was deemed too progressive for the drab four. The weirdest comparison that I came across, however, are the chants at the end of that same track. Peter Benjamin’s anthemic yells of “I find myself” bring instantly to mind the refrain of 80’s semi-novelty hit “Rock Me Amadeus” by German musician Falco. That isn’t to say that the bands sound has been dumbed down to the level of pop-rock bangers, far from it. The album goes through many twists and turns, even in its catchiest moments and there is an undeniable depth to the songwriting throughout.
For those worried that Voices forgo a slower sound on Frightened in favour of danceable goth rock, “IWSYA” is the album’s first true ballad and opens with a quiet guitar, string and piano arrangement that brings to mind dark empty rooms while also being reminiscent of Blackwater Park’s more acoustic manoeuvres before moving into grittier territories. “Footsteps”, the album’s closer, on the other hand, rivals even the most morose of tracks on London and might take the prize as the band’s most soul-crushing cut. Similarly, it is important to stress that the metallic elements of Voices are still there, they have, just like the sound of the aforementioned Katatonia, progressed and diversified. There are moments of heaviness throughout, but these are counterpointed by a quieter darkness.
London was a dark, oppressive and relentless sonic landscape, perfectly replicating the urban landscape that inspired it. Frightened, however, takes the few moments of respite on the band’s sophomore release and develops them into the album’s focus; the result is an album that feels looser, has more room to breath and has a far larger focus on clean vocals. Despite such changes, however, the quintessential, evocative sorrow of Voices’ sound remains completely intact, as does the band’s progressive approach to songwriting, something which is helped massively by the incredible drumming of David Gray.
Frightened will be a decisive moment in the band’s career, and it is very possible that it will lose the band as many fans as their new expanded sonic palette will attract. It was never possible for the band to release a second London and, with a release that has as much depth and as many surprises to offer as this one, it’s safe to say I'm glad they didn’t.
