Maximum Heavy. That’s the phrase — borrowed from Joe Carducci’s Rock and the Pop Narcotic — that comes to mind when listening to Golden Void’s self-titled debut offering. “Heavy” in this respect isn’t necessarily about volume or velocity (though those certainly play a part here), but more about a vibe, a kind of instrumental interplay, a rhythmic approach. “Heavy is where the aggressive rock approach meets an internally generated resistance,” Carducci writes. And while I’m not sure what he means, I sure like the sound of it.
What I’m trying to get across, without sounding too hyperbolic, is that Golden Void is kind of a perfect rock record. It’s steeped in the classic rock tradition of Sabbath, Zeppelin, Hawkwind and Hendrix, but never gets bogged down in the hoary clichés of that tradition. The path may be well trod, but Golden Void tread it so well. When guitarist/vocalist Isaiah Mitchell, who also plays with Howling Rain and Earthless, tears into one of his many Iommi-an solos, it isn’t a tired guitar hero move — it’s fresh, exciting and positively riveting. Mitchell’s cohorts are willing to follow him anywhere, with thunderous enthusiasm. Dig the way he leads them off a cliff in “The Curve,” descending into a dream-like slow-motion sequence, and then blasting off for the stars again. Or the haunting “Planet Caravan” breakdown in the closing “Atlantis,” all watery vocals and mystical groove. Golden Void is only seven songs long, but there’s nary a moment wasted. It’s all Maximum Heavy. Enter the Void! words/ t wilcox