Since their 2013 formation, Temple of Void have seamlessly melded the gloomy atmosphere of 90s Peaceville bands with the lethal force of classic American death metal. The result has been two critically acclaimed studio albums and a reputation as one of the premier bands in the current OSDM revival. However, as I stated in my review of Molder’s debut album, Vanished Cadavers, the OSDM scene is getting old and tired. I’m no mindreader, but I can’t help but think ToV feels the same way. They could’ve continued down the same path as their previous releases. After all, they have their sound down to a science. Instead, they took one of the biggest risks a metal band could take: exploring new influences.
Over the decades, we’ve seen experimentation result in genre staples (Sabbath Bloody Sabbath), misunderstood masterpieces (Into the Pandemonium), and…well…whatever Kreator was trying to do in the late 90s. Sometimes it reveals a side of a band we otherwise would’ve never known existed. Other times it reveals a side of a band we didn’t want to know existed. Whether it’s a win or lose scenario is up to the general populace and time itself. In the case of The World That Was, said populace has been very kind. It’s being hailed by many outlets as ToV’s finest release yet and a “modern death metal masterpiece”. When a release is this hyped, I can’t help but be slightly weary. I’ve never let another outlet affect my opinion of a band/album. To cleanse my palette of these headlines, I revisited the first two ToV albums before listening to this one. And let me just say that The World That Was is something completely different.
The album opens in classic ToV fashion with “A Beast That Was”. We’ve got the super low gutturals of Mike Erdody, complimented by the ever crushing riffage of Alex Awn and Don Durr. It’s an utter beast of song. I don’t say this lightly, but it might contain the heaviest ToV riffs to date. So imagine my shock when halfway through, these riffs slow to a halt, transitioning into an eerie, doom metal dirge. ToV IS a death/doom band, but death has always been the foreground. On The World That Was, they aren’t afraid to let doom equally share the spotlight. The following song, “Self-Schism”, follows this same formula of devastating, memorable riffs, only to switch over to an atmospheric doom section that’s simultaneously dark and calming.
“A Single Obolus” is an acoustic interlude the same way “An Ominous Journey” was on Lords of Death (2017). The minute and a half long piece serves as the perfect break before “Leave the Light Behind”: a monolith of a song with towering riffs, spacey progressive rock synthesizers à la Hawkwind, and a dreamlike chorus which has more in common with Smashing Pumpkins than Autopsy. Being the death metal purist I am, if this were any other band, chances are I’d clown on this song. But dammit this so good. ToV displays professionality that’s seldom seen in death metal these days.
Speaking of being a death metal purist, my favorite song is “Casket of Shame”. This is as deadly as death metal gets. It’s the one song that wouldn’t sound out of place on a prior ToV release and a total throwback to the golden age of death metal. The album closes with the nearly 10 minute title track. It expands upon the progressive influences displayed on “Leave the Light Behind”. This beautiful, doom metal suite is filled with chugging riffs, melancholic leads, and a synth string and choir section, before reaching a cinematic finale in the same vein of prog rock epics like “2112” by Rush or “Heart of the Sunrise” by Yes.
With influences ranging from 70s progressive rock to 90s alternative rock, The World That Was greatly expands upon ToV’s signature sound. I understand why staunch traditionalists don’t like this album. I also understand why critics are hailing this as an artistic triumph. For me, The World That Was is just as rock solid as ToV’s past output, but differs in that it transcends the OSDM label. I’d say from here the sky’s the limit, but in reality, the void is endless.
7 out of 10
Label: Shadow Kingdom Records
Genre: Death/Doom Metal
For fans of: Hooded Menace, Paradise Lost, Asphyx