INMAZES

Who says djent isn't prog? I STRONGLY disagree. Denmark's Vola demonstrates a refreshing album of progressive rock music by melding the keyboard techno-wizardry of the 1980s with an outstanding rhythm section of djenters who absolutely refuse to play anything in a straight time. Think TEARS FOR FEARS or DEPECHE MODE teaming with MESHUGGAH, TOOL, or PROGHMA-C and you'll have a pretty good image for the aural soundscapes these guys paint on Inmazes. The album starts out much more heavily, more djenty, and then starts to show more of the band's 80s synth-pop roots in the second half.

1. "The Same War" (5:19) opens with some truly abrasive industrial djent sound before opening up into a full-on TOOL-like onslaught. When the vocals of guitarist Asger Mygind enter I am immediately struck by the similarity of his tone and sense of melody to that of David Gahan of the 1980s New Wave band, DEPECHE MODE. I need to point out that throughout the album the work of the bass, drums, and djent guitar play is absolutely top notch and amazing. I love the unpredictable syncopated and multi-octave guitar melody at the four minute mark. (9/10)

2. "Stray the Skies" (4:13) opens rather melodically, hooking the listener in with the album's most haunting melody, before sliding into a very heavy, very djenty, almost abrasive A Section. The Chorus returns us to the opening melody and synth chords, but then the following section becomes even more sparsely djenty. Back and forth the music goes, start to finish. Awesome contrast! (9/10)

3. "Starburn" (6:05) opens with some spacey atmospherics joined by an electronic tuned percussion arpeggio before the djent crew brings down the wrecking ball. This one even incorporates some vocal growls/screams. The shift at 1:55 into the melodic and harmonic realm of 1980s New Wave is a bit incongruous and perhaps denotes the weakest moment/transition of the album--the only place where the djent-New Wave partnership might not work. The prolonged guitar djent chord play that plays out over the second half of the song is interesting but never really goes anywhere new or fresh. Unfortunately, this is the album's low point. The good news is: it is virtually its only one! (7/10)

4. "Owls" (5:51) opens with a prolonged TOOL-like drum, bass and guitar section. When the vocalist joins in the band once again tries to marry the melodic, almost syrupy New Wave vocals with the abrasive, syncopated and less-than predictable staccato of its djent rhythm section. Here it works pretty well. Early SIMPLE MINDS on steroids. (8/10)

5. "Your Mind as Helpless Dreamer" (5:21) opens with perhaps the most high energy, ambitious rhythms and pace. Fast-paced midi-ed keyboard chords join in (in a NEW ORDER kind of way) while the vocals are presented with a much heavier, more aggressive fashion--very similar to the wonderful sound and work of Australia's KARNIVOOL. This song is working and barreling along on all cylinders! (10/10)

6. The delicate and techno-edgy "Emily" (3:01) plays out like a very emotional Roland Orzabel (TEARS FOR FEARS) masterpiece--though it has strong DEPECHE MODE leanings, too. Beautiful song. (10/10)

7. "Gutter Moon" (3:55) opens with a treated (compressed) keyboard riff before spilling out with some rather restrained djenty-yet-fuzzy bass and guitars. The B section takes on more of a DREAM ACADEMY/PREFAB SPROUT feel and synth pop sound. Then the djent rhythm section comes out in almost full force as the melody, vocals and synth keys sustain their 1980s sound and feel. Nice, interesting song. (9/10)

8. "A Stare Without Eyes" (4:58) opens heavily, though compressed, before settling into a melody sounding very much like a DEPECHE MODE song, just heavier. The lead vocal starts out heavily treated before coming somewhat forward for the first chorus. By the second A Section all holds have been taken off of the vocal, the song remains heavy but still retains this familiar DEPECHE MODE feel to it--as if the Mode merely upped their angst and aggression and let it show in the treatments of their instruments. Not quite as catchy with melodies here, but a good song. (8/10)

9. "Feed the Creatures" (5:37) opens heavily before letting all abrasive sounds drop away in lieu of sustained organ chords and computer-pop noises acting as percussives to support the delicate Jonas Bjerre (MEW)-like vocals. The heavy chorus at the three minute mark followed by the delicate piano chords and gorgeous soft vocal over the heavier TEARS FOR FEARS-like electro-rhythms is brilliant! Amazing! Great song. GReat blend of sounds and technology of the 80s, 90s and 21st Century. (9/10)

10. "Inmazes" opens with an odd keyboard pulsing between two chords in a straight time before it is joined by fairly straightforward electric guitar playing a fairly dissonant and discordant arpeggio. The tension is enhanced when the full band joins in with its full heaviness and PORCUPINE TREE-like sound (think "Blackest Eyes") and odd time signature playing over the still audible, still pulsing odd keyboard of the opening. The vocals that ensue are very much in the vein of those of DEPECHE MODE's David Gahan or even NEW ORDER's Bernard Sumner. I like the long, even outro, too. Great song! (9/10)

A wonderfully refreshing album from a group of young Danes who are attempting something quite ambitious in their blend of New Wave techno-synth pop with TOOL/MESHUGGAH djent. The point is: They succeed! Wonderfully!

B+/4.5 stars; a near-masterpiece of progressive rock music.

"Inmazes" is the debut full-length studio album by Danish rock/metal act Vola. The album was originally independently released in February 2015, but saw a label release through Mascot Records in September 2016. Vola formed in 2006 and released their first official release in November 2008, which was the "Homesick Machinery" EP. It was followed by the release of the March 2010 one-track digital single "Glasswork", and the October 2011 "Monsters" EP. Then nothing was released for a few years until "Inmazes" appeared.

Although especially the "Monsters" EP featured some pretty high quality material, it´s obvious when listening to "Inmazes", that Vola were only in their formative stages as a band, when they recorded and released the three early career releases. They weren´t finished developing their sound and style, and "Inmazes" in all departments sounds much more fully developed and well thought out, than any of the preceding material from Vola.

Stylistically Vola play a melancholic and atmospheric rock/metal style which features both mellow and epic melodic sections and harder hitting and heavy chugging sections. The strong voice of lead vocalist/guitarist Asger Mygind and the catchy melody lines and supporting choirs and harmony vocals are great assets of the band´s sound in addition to the well composed and memorable tracks. It´s interesting to note that in addition to foreign artists like Katatonia and Porcupine Tree, who are obvious influences on Vola´s music, there is also a strong influence from fellow countrymen Mew. The track "Gutter Moon" is almost an ode to Mew or at least strongly influenced by the quirky progressive pop/rock melodies of that band ("Owls" is another example). The Mew influence is heard pretty much throughout the album when Vola don´t play their most heavy parts, then it´s other influences who are at play.

"Inmazes" features a clear, detailed, and powerful sounding production, and it´s a sound production perfectly fitting the material. Upon conclusion "Inmazes" is a strong debut album from Vola, and they immediately land on their feet with this release. They had a few years and releases building up to this album, and this is the perfect culmination of those years and the efforts made to come to this place. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).