It’s been a while since I have had the pleasure of committing to the ether, my thoughts, feelings and hyperbolic cliches with the world regarding some lovely new music. It’s always a pleasure never a chore as we see in the new year, segueing from the bonhomie, and present giving fest that is Christmas into the darkened, frost tipped dagger to the heart that is January, bringing as it does small glimpses of hope that are largely chicaned by risible political leadership and broken promises, short days, rain, wind, and despair. I mean who the fuck invented January anyway? It’s such a bastard of a month, the very worst, why can’t it be July all the time? Still, I am sure I’d grow tired of sunshine, barbeques and smiling faces, being a miserable sod and all that. In retrospect, maybe January best suits me as an undesirable curmudgeon and what better to accompany me through the travails of boredom, apathy, and darkness than a full on, UK doom infused sludge fest that is Wakefield’s Iron Void.
I must admit that I seem to have arrived late to the party, covered in vomit with a half full bottle of Gin, seeing as ‘IV’ is Iron Void’s fourth album since their inception in 1998 (amongst periods of inactivity) and what a stoically strong and unapologetic collection of songs it is. It has no airs and graces, it doesn’t try to be anything that it isn’t, and listening to a lot of what passes for rock/metal these days, I can’t tell you how refreshing that it. So much of what is passed off for metal tries so hard to cover a myriad of different musical touchpoints to please the gatekeepers of various genres to appeal to the masses and as a result, much of what is released comes across as a confused menagerie, half arsed ideas, without poise, structure or thought. A collection of songs built by committee that appeals to no one.
Iron Void, do the very opposite of that and listening back to their previous releases, it would be fair to say, that the band are not looking at striking fresh ground here, more of the same (same, same but different) seems to be the order of business here and that ‘s not a problem when the songs are cultivated, curated and played with a passion, with an eye for the detail when it comes to the world of doom. Yes, this genuflects at the altar of all the genre touchstones such as Sabbath, Trouble, Cathedral and Saint Vitus, but this is not simple hero worship. Songs such as ‘Pandora’s Box’ and ‘Lords Of The Wasteland’, are beautiful weighted slabs of doom, crushing metal tunes that swing, soar and headbang on a bedrock of thumping bass and playful, but swinging drums with soaring, non-flashy guitar solos resting alongside hulking, granite hard riffs, that are the perfectly played, as they all coalesce into an album that although may lack a degree of variation, is nevertheless, a masterclass in doom rock with the dual vocals of Jonathan Seale and Steve Wilson, offering a contrasting balance of the gruff and gravelly with the melodies and higher registers.
The album doesn’t fall into the trap that can often snare bands within the vestiges of this crowded genre by overstaying its welcome by simply running out of ideas halfway through and having songs that go on for an eternity. In fact, the songs on IV are to the point, short, sharp shocks. Scrappy little fuckers that will buy you a pint but then kick you up the arse and tip your kebab onto your head. There is no fat on this album. It’s pared to the bone, cold, dark, bouncy, head banging nirvana that will one hundred percent appeal to their existing fan base but also shows just enough imagination and song writing nuance to entice a new tranche of fans. It also shows how strong the UK scene appears to be within this genre and hopefully this album is the prelude to continued and greater success for the band.
(8/10 Nick Griffiths)
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