Back in 2015, Cracked Machine came together with an idea of creating a soundscape meant to be taken in as a whole. Their upcoming album titled The Call Of The Void is no exception, as it’s constructed on post-rock vibes and spacey instrumentation all the while saturated with thick distortions (and no it isn’t an album about black cats with bright eyes). Rather calling it an outright heavy release, it’s more focused on ringing in melodies that can be felt, with guitar/bass combos that get rather riff dense in certain areas.
For the most part, The Call Of The Void is packed with long tracks that require a lot of time for build-up and resolution. There’s different strokes that are used, some focusing on conquering the beast immediately, while others cake that on in the end. “Kirimu” begins with a repetitive rhythm captured by the bass while the guitars noodle away, refraining from order. This then causes the song to bust into synths and intensity later on, which is the perfect gateway for getting lost within the mind. The following track “Yamata No Orocchi” lays on the keys a bit stronger while shaking highs on the guitar, blending together for a more chilling tune.
On the other hand, you have tracks like “Jormungandr” that waste no time in creating a spine-tingling effect with tones that ascend up the background but are ultimately topped by heavier riffs. They are the ones that are easier to get a feel for, as they don’t take as long to establish the atmosphere and typically don’t generate the need for suspense to work. The climbing synth in the background is more of a presence than a sound. If anything stands out a tad above the rest, it’s “Typhon” due to the fact that it’s far more eerie than anything else and uses all of these techniques to achieve an unsettling gut feeling.
Save for “Typhon,” this record mostly strives to create the same energy, just done so in different ways. Everything Cracked Machine goes for is done exceptionally, and I really have to give them props for making the drums fit in perfectly with the rest of the instrumentation. They aren’t breaking the surface, but they aren’t fuzzed out; just faced down to the ideal height. Anyone into post-rock, space rock, atmosphere, or desert rock needs to take hold of this.