Review Summary: VOLA stick to what they know best with satisfying results
VOLA is a band that is not afraid to wear their influences on their sleeve, but they are very much their own band, as showcased on their debut LP, 2015's
Inmazes. Fusing djent-like riffs with electronics and infectious melodies, VOLA captured the gaze of many that would perhaps not take interest in “djent” music or its sub genres.
Inmazes is an album that delivered many iconic moments in the band's relatively short career thus far, such as the piano break in “Owls” or the captivating outro to the title track. The band's fusion of synths and heavy, de-tuned guitars with impressive vocals definitely succeeded in capturing the attention of those not too familiar with the genre.
Many of the songs on
Witness follow a distinct formula, but one that unmistakeably works for the band.
Witness is groovy, melodic and heavy all at the same time. The best example of this is album opener, “Straight Lines”, which starts off with a rhythmically jagged riff leading in to one of the band's catchiest choruses to date. There are also a few call backs to previous efforts thrown in for good measure. “Stone Leader Falling Down” is as close to a song from
Inmazes that you will find here, featuring some of heaviest moments on the album, with “Freak” being in a similar vein to “Ruby Pool” from 2018's
Applause of a Distant Crowd. However, it doesn't quite reach the same heights in terms of impact or originality.
With
Witness, VOLA don't stray too far from their pre-established blueprint of hard hitting riffs and soaring choruses. That being said, they are not shying away from throwing curveballs every so often either. This is most evident on the sure to be polarising “These Black Claws” which features a collaboration with American rapper, Shahmen. This is a track that combines much of what has come before on
Witness but includes a rapped verse and bridge section, culminating in an unexpected but fresh sound.
Musically, the performances of each member of the band serve each song perfectly. Their technical ability is showcased throughout
Witness and a special mention must be given to Adam Janzi's drum performances, especially on “24 Light Years”. He is able to create unique grooves and patterns that compliment the other members' efforts without sounding too busy or invasive. Janzi's contributions carry on from the technical prowess shown on VOLA's previous release,
Applause of a Distant Crowd, solidifying the fact that he is no longer the “new guy” but an important part of the band's sound.
Each member is able to shine in full thanks to the production and mix quality on the album.
Witness sounds huge. With mixing duties being handled by Jacob Hansen, who has worked with bands such as Volbeat and Katatonia, the album will be pleasing to the ears of many an audiophile. Each instrument is given space in the mix, highlighting each members' performance throughout. The soundscapes provided by keyboardist, Martin Werner, add extra delicious textures to each song, filling out any gaps, providing a rich sound and elevating most of the choruses on the album. Additionally, vocalist/guitarist Asger Mygind is arguably at his best on
Witness in terms of his vocal performances. His vocals carry each chorus, delivering striking melodies that will most likely be stuck in most listener's heads for days. Whether in full voice or falsetto, Mygind's vocals sound at their most well rounded here, with no weak moments throughout, providing an accomplished performance.
Witness shows VOLA becoming a band that very much knows where and what they want to be by defining their sound and ironing out creases whilst also throwing some new ideas in to the mix. They have escaped the negative reputation of the “djent” music scene by becoming one of the more original acts, expanding on their sound with each release. A band that is very much in touch with their fanbase and appears humble in their journey, VOLA can only be headed for bigger things in their career and
Witness could be the catalyst for just that.
