With two albums under their belts, Dvne is back with “Voidkind”, which not only continues their exploration of progressive metal, but also refines their sound. The album is positioned somewhere between the raw energy of Mastodon and the more atmospheric approach of Tool, while incorporating a personal touch that places Dvne among the most daring bands on the modern scene. Compared to their previous album, “Voidkind” is more direct and immediate, while retaining the rich compositions for which the band is renowned.
Introducer 'Summa Blasphemia' immediately sets the tone. This track is a sonic tempest of energetic riffs and overpowering drums, in the image of what Mastodon did best on early albums such as “Leviathan”. However, where the latter sticks to raw energy, Dvne plays more with more atmospheric passages, close to those found in Tool's work, and more specifically “Lateralus”. This alternation between heaviness and lightness is one of the strengths of “Voidkind”, which manages to maintain tension throughout its tracks.
One of the album's highlights, 'Eleonora', perfectly illustrates this balance. The track opens with a riff reminiscent of Gojira's sonic density, but quickly opens into a more ethereal, almost introspective section, reminiscent of the space explorations of Mastodon's “Crack the Skye”. The changes in rhythm, the alternation between moments of tension and release, may evoke the work of bands like Opeth, capable of blending sonic violence with calmer, more poetic interludes.
If the previous album “Etemen Ænka” sometimes suffered from a mix where the voice drowned in the instruments, “Voidkind” rectifies this with a clearer production. Daniel Barter's growls now take center stage in the mix, adding an even more aggressive dimension to tracks such as 'Reaching for Telos'. Here, Dvne demonstrate their technical mastery and keen sense of structure, allowing the different elements of their tracks to breathe and flourish.
“Voidkind” also marks a return to some of the oriental influences present on the first album, ‘Asheran’. Sarmatæ' is a perfect example, with riffs inspired by Middle Eastern sounds. This kind of experimentation recalls the boldness of bands like The Ocean, who often blend diverse cultural elements into their compositions. However, Dvne avoids the trap of self-reference and manages to integrate these influences without ever repeating themselves.
Finally, the album closes with 'Cobalt Sun Necropolis', a nine-minute epic that combines elements of sludge, progressive and even ambient. This ability to navigate between genres and create such long, evolving compositions without losing the listener's attention reminds the great works of The Mars Volta or Isis. The title track closes the album in masterly fashion, leaving an impression of grandeur that invites repeated listening to discover every nuance.
“Voidkind” is an album that stands out as a major work of progressive metal in 2024. By drawing inspiration from the genre's great names while forging its own sonic identity, Dvne succeeds in creating an immersive musical experience where each track is an exploration in its own right. Lovers of prog-metal and post-metal, and fans of bands like Mastodon, Gojira and Tool, will find “Voidkind” a demanding yet rewarding album that deserves their full attention.