I’ve always aimed to be an advocate for the smaller bands, the projects soaked in brilliance that don’t get the airplay and attention they deserve. The Vicious Head Society is one such project. They are getting ready to release their third album, Call of the Void, on July 24th, and it is absolutely riddled with stunning moments.
The Vicious Head Society comes to us from Ireland and is the brainchild of Graham Keane. Graham pours his heart and soul into everything he creates, and it is blaringly obvious as soon as you listen. He handles guitars and synths, and brings with him Klemen Markelj on drums, Nathan Max on vocals, Matheus Manente on bass, and Nahuel Ramos on synth. You will also hear Paul Phillips and Pat Byrne on bass, Alec Noonan and Wilmer Waarbroek on vocals, Bertrand Juve on sax, and Sareeta on violin.
The band or project, whatever you want to call it, has a rock-solid discography thus far. They debuted in 2017 with Abject Tomorrow, still a great and extremely ambitious record in its own right. Then came 2021’s Extinction Level Event, a massive step forward with some truly spellbinding tracks. Now comes Call of the Void, another big step up in many ways, and one that is truly hypnotic from beginning to end. And the band name? According to Graham, he and some prog nerd friends started writing music together, and they used a band name generator with the promise they’d use the very first name it created. The rest is history.
The music here is progressive metal, pureblooded and powerful. If you’re like me, you long for some of the gigantic concept albums of the 90s and 00s, complete with the crooning vocalist, the intelligent lyrics, and the fiery instrumentals. Look no further! This album has guts and gravity, guitar work that is absolutely astonishing, and some truly cinematic and gorgeous instrumental portions that never fail to knock my socks off.
Lyrically, the album is far more emotional and personal than the previous albums. It addresses feelings of burnout, those moments when the fire is fading and your search begins for something new, some fresh purpose. And many of us fight such a transition, unwilling to give up on the dream, refusing to admit to ourselves that it’s over, that it didn’t work out. But there is freedom in surrender to change, and you just might find home waiting for you at the end.
Call of the Void has eight tracks and they are all terrific. It hits the ground running with “Fractured”, a fiery and riffy track with spiraling synth soloing and one of the catchiest choruses on the album. I absolutely adore the riffs on this piece. Next is “The Edge of Time”; now, part 1 occurs here and part 2 comes near the end of the album. They sound amazing back to back, though, the first part being a searing metallic piece, but the second being more nostalgic, more like a visit to the past: the melodies are revisited and enhance the overall emotions of the moment.
The first half also gives us “Holding on to Forever” and “The Tide”. The former cranks up the emotion a little, full of longing and willpower. I love the chorus and harmonies on that one. “The Tide” comes next, and, my God, what a track it is! In between the great vocal portions, we get some truly towering instrumental portions with muscular riffs, end-to-end synth solos that absolutely rock, and just a ton of energy. It might be my favorite on the album.
But the second half starts with another favorite: “Ignite”. This one is all about the synth, as a burning melody leads the charge, accompanied by delicate violin. It starts out in reserved fashion, but as it transitions through various tones, you’ll hear Middle Eastern motifs, lots of space, and a wicked guitar solo near the end. It lands the punch…hard. Of course, “The Void” follows, and it has such a gushing character, such as cinematic wave in the way the riffs answer each other, it is impossible not to notice. That track is a rip-roaring roller coaster!
The closer is a thirteen-minute epic called “Distant Lights of Home”. It has more nuance, more subtlety and melody in its veins. Despite this, it is chock full of incredible moments, from sax and synth solos to violin atmospheres to even voiceovers and harsh vox. There are all shades and textures here, making for an engaging and well-conceived finale. I especially like the tender melody that opens and closes it.
Look, you won’t see The Vicious Head Society on the front of Prog Magazine (yet), but this album should be on every prog metal fan’s list. It has heart, intelligence, virtuosity, and years of blood and sweat poured into its creation. This is the real deal. Give it a chance.
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Find The Vicious Head Society online:
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The PROG Mind 