Memento Mori

As with their 2020 self-titled debut, Hail The Void’s second full-length is a straightforward exercise of fuzzy stoner-doom. Comparisons could be made to groups like Monolord and Windhand with a ghostly atmosphere surveying monolithic riffs, slowed down swamp blues beats, warped solos, and hazy vocals. But rather than using these tropes to retread familiar ground, a greater melodic sensibility allows for a much more standout execution.

For starters, the vocals have stepped up considerably on Memento Mori compared to the debut. Along with sitting more prominently in the overall mix, they expand on the almost Danzig-esque character that was merely hinted at before. Though still cloaked in layers of echoing haze, you’ll find a mix of haunting croons and howling wails that occasionally descend into desperate yells. It may not be the most acrobatic singing on a technical level, but the extra personality and catchy lines do a lot to set Hail the Void apart from their peers.

The song sequencing is also interesting with the album essentially offering an appropriately doomed out front half and a more restrained backload. The former tracks find their ways to shine with “Writing on the Wall” making the most of its simple refrain and “High and Rising” putting in an especially creepy atmosphere. However, the mellower tracks end up making the deepest impressions as “100 Pills” eases into a subdued bass-driven groove that gets a somber overcast on “Serpens South” while “The Void” calmly winds things down. The smooth transitions between these dynamics only enhances the enjoyment.

With how difficult it can be to make this sort of post-Electric Wizard dank metal riveting without adding a bunch of bells and whistles, it’s nice to see Hail The Void excel in orthodoxy with Memento Mori. The style presented isn’t particularly flashy but the vocals and psych-leaning textures help make it a melodic, engaging listen. It’s a reminder that sometimes all you need to worry about is making sure you’re writing catchy songs.