Barely two years after releasing the critically acclaimed Grasping Time, earning a respectable score from a sometimes difficult to please yours truly, Vokonis return with their fourth full length. In Grasping Time the Swedish stoner doom rockers created an album that harked back to the ‘70s, throwing the horns at Black Sabbath while ensconced within a dubiously smelling green fog. It was no doubt an album for the guitar worshippers, putting the mighty axe centre stage. If Vokonis decided to offer more of the same with Odyssey that would’ve been absolutely fine, but instead they have gone a step further and thrust their progressive tendencies to the forefront. Odyssey runs a gamut of genres such as stoner, sludge, doom and bluesy rock; essentially merging together everything from their previous releases but adding plenty more besides.
Odyssey features six tracks; short by today’s standards, but the majority tend to reflect the title, taking the listener on a sizeable journey through a psychedelic rock cosmos. Time appears to be of the essence on opener ‘Rebellion’ though, speeding out of the traps with an explosive thrashing riff, reminiscent of Mastodon’s ‘Blood and Thunder’. It’s a great start, showcasing Vokonis’ vast range of vocal styles, switching between guitarist Simon Ohlsson’s aggressive bark/howl and bassist Jonte Johansson’s clean harmonies/death metal growl. Jonte’s vocals are now more prominent, giving the band an extra dimension, shifting effortlessly between two very different styles that complement and contrast. This tactic also works a treat on ‘Blackened Wings’ and it cannot be denied that Vokonis have an ear for a refrain and a soaring catchy chorus, you’ll be humming this for days. There should also be no doubt that Vokonis still bow at the feet of the axe god; every track is filled with dextrous fretboard acrobatics, not an ounce of lockdown fat on those pinkies.
The title track mixes a whiff of Crowbar with arena sized rock guitar solos, before the pace slows and goes into melodic overdrive. While new addition to the fold, Per Wiberg (Spiritual Beggars and ex-Opeth), adds extra layers of harmonics with his keyboards. Similar to the vocals, these are a perfect contrast to the heftier moments, particularly the staccato riffing and metalcore section which appears towards the end of the track. Even taking this culmination into account there’s a noticeable shift away from the heavier end of the spectrum the further travelled into Odyssey. The final track for instance, ‘Through the Depths’ has its moments but is generally mid-paced and some of the clean vocals irk a little, I can imagine Jonte grabbing fistfuls of air while standing in front of a wind machine. Eventually this descends into a massive instrumental jam which is wildly overlong; it feels like the equivalent of a mid-set lull, where everyone disappears off to the bar, rather than the finale.
Die-hard fans will be intrigued by Vokonis’ evolution and progression during Odyssey, while those with a penchant for doom and weed enthused fuzzy stoner riffs may be sad that the early Elder and Black Sabbath influences have been left behind, in favour of something more expansive. The addition of Jonte’s more ferocious vocals make them sound heavier on occasion, while the inclusion of Per’s keys add texture to the abundance of melody. Vokonis cannot be faulted for their musicianship and production, but Odyssey didn’t grab me quite like Grasping Time did, it drags in the latter half and the jams are a little too self-indulgent. I’m sure I’ll upset the fanatics, but personally I feel Vokonis are at their most enjoyable when they cut loose and crank out the sludgy riffs, but they appear heading in a more mature direction. Plenty will enjoy Odyssey; sonically it’s a rich and diverse journey, plotting a course through many a rock and metal landscape, taking in some unexpected epic detours along the way.
(7/10 James Jackson)
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