When I expressed my wishes for the next Vanessa Funke album back in April, I was not expecting to get an answer so quickly. That’s on me. Funke writes and writes. It almost makes the album name Void quite ironic as that’s the opposite of her discography. However, it is an apt fit for the melancholic tone she often adopts for her work. Last time around I wanted more of that bleak, sad goodness in Funke’s work, which begs the question – do we get it?
The answer is a plaintive yes. Vanessa Funke has not only leaned hard into the atmoblack side of her sound on Void, but has also brought more gothic and progressive sensibilities to her songwriting. The result is a captivating slab of gloom that meanders between blackgaze and more jagged assaults. There are some moments of real catharsis and darkness here. The quiet sections on “Loneliness” and “The Funeral” showcase some of Funke’s best work. “Blood On My Hands” is the standout though here, for the way it builds its depth of emotions (and also guest Lukas Rinke‘s flugelhorn) through its passages.
Unfortunately, while I am very happy with the direction of Vanessa Funke‘s music, some of my criticisms remain. A run time exceeding an hour is a long time for this style of metal to sustain attention. Cutting this down to the best material would have strengthened everything. Also, as much as I appreciate the frail power of Funke’s quiet sections, hearing her unpack some blast beats on “Infelicity” made me realize just how much I needed a counterpoint to the atmoblack. More feral aggression would have helped Void stay strong all the way through.
At its best, Void would have been a dark horse contender for my end of year list. Its current best is too diluted for that but even so, Vanessa Funke‘s evolution is impressive. She is turning her many influences into a cohesive take on mopey metal. If you’re looking for a soundtrack for sullen autumn nights in this blazing summer heat, take a look at Vanessa Funke‘s Void. There’s plenty there to like.
