All Hail The Void was an impetuous first album, enthusiastically weaving its way through hardcore, crust, death, grind, d-beat, thrash and other sub genres — why not make up your own? The anthemic Close My Eyes opens things up at breakneck speed and sets the tone for the entire album. It is immediately apparent the focus of the album is song writing.
Nearly every song has been stripped of musical self-indulgence, hurtling the listener from riff to riff. The complexity and variation of riff styles has been reigned in from previous work. This is straight forward hardcore. Any dalliances with other genres of metal exist merely as a confident flourish. Lohrber himself is in great voice — spitting every syllable with enthusiasm and venom.
His performance is solid throughout and delivers vitriolic hooks that catch your ear with satisfying regularity. The change of pace is used to powerful effect, swiftly progressing to short bursts of grind before returning to its d-beat origins to finish. The fleeting delivery of the big riff payoff is a prevalent feature throughout the album and while it maintains the aesthetic of the band in its rawest state, it is a noticeable departure from previous releases. Any Prey - Enabler - La Fin Absolue Du Monde of this becoming a mainstream crossover success are dashed as bassist Amanda Daniels adds sung vocals during the post chorus breakdown.
The vocal line is uninteresting, sung amateurishly and jarrs horribly from the confidence that the rest of the album exudes. Proof that there is no arguing with a good riff, a big hook Prey - Enabler - La Fin Absolue Du Monde beat you can jump up and down to, this will no doubt become a live favourite. Concerns that Enabler may have sold out, perhaps influenced by that shady Falloutboy drummer in their midst, are dispelled as Prey screeches and howls nastily into existence.
Things tail off near the end of the album. Linear Existence is pretty pedestrian in comparison to what has come before and after all the high velocity rage and intensity the album ends with a disappointing wet fart Consequence. There is almost nothing positive to say about the Waltz From Rosenkavalier - Various - Festival: A Treasury Of Classical Hits track, it feels like they had some riffs left over at the end of the writing process and half-heartedly stuck them together.
Klavierkonzert Nr. 18 B-dur, KV 456 - Mozart* - Alfred Brendel, Academy Of St. Martin-in-the-Fields*, What A Life - Los Mockers - The Original Recordings 1965-1967, Espana (Pre-Mixed) - Various - Atoll Music Sampler 1997/98, Dont Drop That Bomb On Me - Bryan Adams - Waking Up The Neighbours, Souldynamic Feat. Dawn Tallman - In The Air