Some albums end up being a surprise, not because the band is no good, but because the band morphs their sound into something even more amazing. The new Vanishing Kids album released on October 13th, and I was lax on hearing it at first. Soon, though, I couldn’t get enough. It is called Miracle of Death.
Vanishing Kids comes to us from Madison, Wisconsin. I first stumbled across them with 2018’s Heavy Dreamer, and I was sold on their sound immediately. Now, five years later, they return with a record that is truly beautiful. The current lineup is Nikki Drohomyreky on vocals, organ, and synth; Jason Hartman on guitar, Jerry Sofran on electric bass, and Nick Johnson on drums. You will also hear Gavin Epperson on violin and viola.
With Heavy Dreamer, the band set a tone of fuzzy, gritty, sweaty doom metal. It was lumbering and full of Black Sabbath callbacks, and I loved it. While the band has not fully abandoned those ideas, Miracle of Death has its own style. This album is hazy, misty doom that dabbles in ambience, shoegaze, classic rock sounds, and metal. It doesn’t fully commit to one label, but masterfully weaves together various sounds into one exquisite and liquid expression. In a way, this album has fewer filters and novelties, but in that way it comes through with crystal clear clarity.
One of the things you will notice immediately is Nikki’s vocals; she has one of the most unique voices I’ve ever heard, being lower in tone than most female vocalists, but with a golden, fluid touch that is undeniable. Jason’s guitars, too, really stand out for me with his mastery of the doom riff, and also with his emotional and intense classic solos that always give me goosebumps. Add in a terrific rhythm section that sounds straight out of a stoner record, and the album has a unique imprint that should please many kinds of fans.
Miracle of Death has seven tracks, and they are all amazing. Each one of them feels lovingly nurtured and developed over the last five years. I’m honestly not even sure which half of the album is my favorite because they are all so good.
One of my favorites is the opener “Spill the Dark”, a murky and yet vivid piece with sparks of synth and hovering organ that make it feel solemn and driven. I love illustrious ending, too. “Only You” follows with rocking piece that displays Nikki’s voice, especially on the amazing chorus, and the guitar work on this track is truly sensational. I don’t know how anyone could hear this song and not get lost. “Demon Glove” is next and has really been growing on me. It is a slower track with one of my favorite, rolling hooks from Nikki, and I like how the peals of guitar play against the dark organ atmosphere. It is such an evocative piece.
The last four tracks are terrific, too. “Midnight Children” has a bit of Sabbath in its veins, and so has that classic vibe. I like the depths of the guitar tone and the groove. “Feral Angel” is more abstract and cloudy, swirling in misty darkness with Nikki’s voice piercing through effectively; it has a rhythm and groove to it, but sometimes the sheer ambience is all you can hear. “For Lauren” is one of my favorites, an emotional piece that is something like a ballad; it is ruled by whimsical keys and vocal musings, and it is extremely beautiful. I love the part where the synth breaks into this void of melody with such dazzling style. Finally, “To Dust” closes the record with a ten-minute track that trades back and forth between reserved tempos and pure rock ‘n roll. It has such presence and is a perfect ending.
Vanishing Kids took their time, but this new record is a real beauty. There is a constant sense of harmony and attractive ambience that soaks every note, every riff, every beat. I love how heavy the music sounds, not simply because of the riffs, but because of the weight of the production, the darkness of the lyrics, and the humanity of the expressions. Miracle of Death is such a vibrant work that I hope garners this band many new fans.
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The PROG Mind 