Some music is about impact and immediacy, the quick hit that fires you up for a Friday night out on the town, some is good time, throw-away music, a fast fix to be used to fire you up and then be cast off. Void is the antithesis of all of that. Amongst its dreaming sonic spires and meandering song lines you find subtler, deeper attachments, music that seeps into the soul via osmosis rather than any conscious ingestion.
These wonderful soundscapes are just one possible conclusion on a line that runs back through Chvrches, Zola Jesus, My Bloody Valentine, The Cure, The Cocteau Twins and Berlin era Bowie. But more than just another contemporary musician looking to hang their hat on the shoegaze revival, this is far harder to pin down. Some songs, or parts of them at least, are rooted in solid structures but the shifting nature of the music means that at any given point the song could float off like the smoke from a dying candle to be replaced by different textures, stranger motifs or head off on a different musical tangent althogether.
These long opuses to intangibility and delicacy capture everything I find endearing, from their unpredictable post-everything nature to their dark, organic and often claustrophobic qualities. This is music made without any existing template in mind; it’s Sigur Ros on a chill pill; it’s the soundtrack to a fitful sleep; it may suggest so many influences but it isn’t quite like any of them. It is quite possibly the darkest dream-pop I have heard in a long time and I love it everything about it.