2012 was the year Spiritual Void started their journey in the Rio de Janiero music scene. Breaking out of the folk music that Rio is known for, Spiritual Void decided to play metal, thus leading to the release of their debut full-length album entitled “I”.
The album features 4 studio-recorded tracks in pretty good quality, and the seemingly common thing of all these tracks is that they’re inspired by 70′s and 80′s old school metal music.
The release opens up with a song called “Fall in Disgrace,” and it smacks you in the face with a late 70′s-inspired riff that lacks nothing in sound and attitude, backed up with the distinct old Iron Maiden-y bass and drum style. Through the three-minute-thirty-second length of the song, it’s catchy and upbeat, with a really good solo that would make you nostalgic for the dusty old albums you grew up listening to. The song falls short in nothing besides the vocals. To me, they sounded a little fixed and a tad unauthentic. Mixing remnants of Axl Rose’s rapid wording, and a mediocre attempt at high shouts, they sounded a little off sync with the rest of the music. As a standalone track, it stands out from the rest of the album with minor shortages.
The second track, “Find Your Way,” goes to an overly-influenced early Metallica sound. The main riff reminded me of Enter Sandman a little too much. The bass and drums also fall down in their distinct sounds, playing somewhat generic styles, and falling short in what you’d expect from a new band to deliver – a new, genuine sound. The vocals laid for this track do match the music more than the first one, but that’s not exactly a good thing. The attempt at James Hetfield’s style of singing sounds rather odd and forced out. Towards the end of track, the sound takes a more grungy/Motorhead influence and it makes the track a tad more tolerable.
“Hate & Pride,” the third track off of the album, continues with the previous track’s sound – only thrashier and more aggressive, which is not good news either. I liked the guitar work, but everything else sounds like a plateau for the vocals, and the vocals are still going for that forced out James Hetfield sound. The guitar solo is decent, but nothing too out of the extraordinary. Towards the end of the track (this seems to be a pattern) the song takes a more aggressive later Slayer-esque sound, and it’s actually not bad.
The final track, “The Shadow,” also follows the previous tracks in the overly-influential sound, yet from the rest, it’s a bit slower and sludgier. I cannot make any different remarks on it other than what already mentioned for the last two tracks. However, I like this one a little better. Towards the end, it delivers a really nice shred-style solo.
Over all, the album is a far cry from any new sounds. I can say it’s the 70′s and the 80′s recycled and re-recorded with slightly better studio quality. Now, not that I have anything against the 70′s and the 80′s, but it seems that everything attempted to be remade from that era sounds a bit, well, generic. I give it a 6/10 rating for the effort and the good adaptation of their influences, where the missing points would be wasted on the vocals and the short time of the album. If you’re looking for an album that would make you miss listening to Metallica, Motorhead, Slayer, Sabbath, G’n'R, then this is probably the right album for you.