REVIEW: Void Dancer – Sorrow From Self-Undoing
There’s something pungent in Puget Sound.
(This review was written by Voided Grimace)
Seattle is well-known for a few of its major cultural exports that later formed a corporate patina as they reached a larger audience. While 90’s obsessed normies were caught up in the phenomena of grunge, Starbucks, and Frasier, the area around Puget Sound was also home to some lesser known yet highly regarded metal bands.
Void Dancer continues Seattle’s tradition of riffs under the tags of melodic death metal and deathcore. On their newest EP, Sorrow From Self-Undoing, this subgenre mixing most often follows the progressive leanings of mid-aughts Between the Buried and Me and the angular rapid-fire riffs of Revocation. While I haven’t yet heard their previous release, 2022’s Prone Burial, the “deathcore” elements of their sound here are most apparent in Clint Gee’s vocal delivery. This would typically be a turn off for me but Gee’s performance showcases a range that is well-executed and manages to avoid rubbing against the more grating tropes of the subgenre (“breeeeeee”).
The slow build of opener “Bowse” is a fitting intro to the band’s signature sound. A psychedelic arpeggiated guitar gives way to riffs that contort over a driving beat from drummer Brandon DuPraw. By the end of the track it’s already apparent that Void Dancer are careful not to stay with any riff or melodic idea for too long. The song seems to effortlessly move forward while holding connective tissue through each end of the arrangement.
One critique of Sorrow From Self-Undoing becomes evident on “Heir to Error,” where the band seem to hug their influences a little too tightly at times. The song gives huge nods to both Between The Buried And Me and Revocation, which is understandable given their pairing with producer Jamie King, who notably worked with BTBAM on a large chunk of their creative output. Nevertheless, King’s production is a strong fit for this band sonically.
The most memorable moments of Sorrow From Self-Undoing come with the trio of tracks at the end of the EP. “Trench Mouth” is cued by the same shimmering guitar from the closing moments of the preceding track before launching into a section of riffs highlighting just how tight the band is. Guitarists Zane Smothermon and Ilya Ignatov are in lock step through the duration of this EP, with this track perhaps being the strongest example. The song’s chorus hook also features a scream-sung vocal melody that is surprisingly reminiscent of Darkane in all of the right ways.
The band continually shifts the vibes on “Cathardiac,” which could be an easy favorite if it weren’t quickly followed by “New Gold Standard.” The closing track features bouncy riffing and even a jammy psychedelic passage in the middle, building suspense before the memorable closing minutes.
Sorrow From Self-Undoing showcases a key strength of Void Dancer: their tight songwriting. While the music is proggy and often phrenetic, each song is tightly executed within three to four-minute runtimes. No second is wasted here and there’s not a single section of a song that overstays its welcome. The five songs on the EP are thoughtfully sequenced in such a way that you think you’ve heard the best song until you hear the next one.
3.5 out of 5 Flaming Toilets Ov Hell
Sorrow From Self-Undoing is out on October 1st.
