The Outer Ocean

"Rockular" acronym notwithstanding, Stockholm's VOJD should readily appeal to fans of brash yet wistful Swedish traditional heavy metal which frequently meanders into equally ravenous instances of retro-rock revelry where down-to-Earth and concise, tuneful lyrics/vocals over searingly refined, mint blues solos built around melodically bumptious mid-tempo, oft fulminating, rhythms are the order of the day...and night, in (dark) light of the seminal quartet's original incarnation, Black Trip, whose compositions and thematic overtones decidedly took on much more of an undisguised, not to mention "occultic", turn.

Earlier this year, in addition to briefly following an obscure, limited edition 7" vinyl tribute to Motörhead/Deadheads split and surely optional single (humdrum A-side "Behind The Frame" w/ crafty "Funeral Empire" B-side), Black Trip front man (not to mention founding Enforcer member/bassist) Joseph Tholl and his lowdown, genial minions churned out VOJD's wholly unanticipated full-length debut, The Outer Ocean, on CD and 12" vinyl (limited to a thousand copies, half of which come in electric blue translucence) under the token albeit super reputable High Roller Records, and even though it feels significantly less concordant, organized or cogent as BT's respective Going Under (2013) and mildly superior Shadowline (2015), the good news is it still has its memorable, savory moments.

In a certain pragmatic sense, it's a logical continuation for the gregariously upbeat and talented ensemble. That said, I'm partial to how a fellow erudite reviewer and metal sage (en herbe) felt about Flight's titular full-length debut on which a handful of mediocre tracks detracted from its overall appeal but would've made a fine EP, regardless of a reduced running time, had the fat been trimmed thus.

To an extent, this particular logistical symptom nebulously befalls The Outer Ocean; off the top of my head, I'd drop the prosaic, if not tritely redemptive, opening anthem, "Break Out" (denote reasons why in my rather sardonic write-up for the above mentioned single), not to mention honky-tonk, "spats-&-waistcoat", saloon piano imbued "Dream Machine", as it jarringly throws one off course following the all-out rocking and nostalgically Shadowline reminiscent humdinger, "On The Run" (here, Night Viper and co. imperially calls for its frank return!).

Another unmitigated highlight consists of the mystically reverb'd and watery "Secular Wire" - ideal for riveting river-boat rides, mind - which compels me to don smoky aviators in clashing concert with queerly patched hippie-dippie ware (sadly, sans "coiffe longue" i.e. mullet) with no apparent regard or concern for my fellows' a) mildly vexing "affable" mockery, or, Hell forbid, b) intransigent derision and scorn laden, for good measure, with a steaming n' stymieing portion of ye olde fashioned contumely...

Granted, the so-so and placid title track serves its thematic purpose but, essentially, it's yet another eschewable number which fails to fan the flames of cold desire. On the other, chthonic hand, a hot-to-trot, fiery and libaciously Kiss sounding, lead choked "Vindicated Blues" does exactly that - namely, "vindicate" said wan, platonic and irrepressibly tame predecessor, whilst top highlight, the glumly catchy "To The Light", sounds auspiciously derived from Orchid's sophomoric and (Black) "Sabbath-ian" The Mouths of Madness, (arguably) released to wide acclaim in 2013.

That said, alongside its North American, 'Cisco-based brethren, some might accuse this gloomily swooning closer of disturbingly blatant O.O. copy-cat-ism, yet, in my book (i.e. heavy metal "Necronomicon") there's nothing wrong with infusing a lofty touch of "Master of Reality" kook and wagg(ishness) - on top of heady anti-War sentiment/general amusement - into one's chair/devil-horn tossing festivities, eh?

Speaking of wanton emulation still, I couldn't help but notice how the opening bars to "Delusions in the Sky" - a definite pro-list offering, in any case, thanks to its poignantly evocative lyrics and refrain - loudly mimic the classic "Born to be Wild(e)" by Steppenwolf, or how the radio-friendly, however cumbrously titled, "On an Endless Day of Everlasting Winter" makes crisp, bopping use of ZZ Top/"La Grange" styled up-strokes backed by a jerky and footloose drum prattle. Alternatively, the brashest, heaviest and predominantly less "wistful" selection happens to be its crankily compressed and celeritous, aptly named successor, "Heavy Skies". Strangely enough, the latter is characterized by an utter lack of leads, so feel free to relegate it to the dustbin beside fellow detractors.

In retrospect, there's a bit of something for everyone on VOJD's The Outer Ocean, and, as noted by raoulduke25, there's a strong chance you'll find at least a few, if not most, of the eleven tracks to your liking. One particular aspect is indisputable: Tholl's bass bounces around in a most egregious and plump, audible manner, thus providing each song with its own commanding undertow whilst drummer Anders Bentell competently fills Enforcer/Black Trip's Jonas Wikstrand's shoes - or, if you prefer, "shit-kickers" to a gruff, rowdier crowd.

Above all, consider dual axe jockeys Pete Stjärnvind & Linus Björklund's richly dominant minor-pentatonic fret work as the driving force behind VOJD's acclimatizing appeal. Suffice to say, the kinetically amped duo duly hammers it home, especially, as noted, on "Vindication Blues" and, ah, the Esso Petrol plagiarizing "On The Run". (You must be Canadian to "get me" there...). Oh, the intensely rock-ish and cowbell "tok" vested before-last number, "Walk Me Under", should also be hailed as a chivalrous and heroic VOJD flagship. Anyhow, I've said it before and I'll say it once more: guitar solo freaks such as myself owe it to themselves to check out any and all Black Trip/VOJD releases, as I fully assure their fair share of giddily expunged air-guitar wizardry and/or enthrallment - this, you can positively bank on!

To conclude, I'd be misleading if I claimed I wasn't the least bit disappointed with The Outer Ocean. Nor do I fully understand what compelled not just the band name change, but somewhat considerable line-up variation as well (i.e. Johan Bergebäck and Sebastian Ramstedt's replacement with Björklund and Bentell). Ah, well! I'll simply spare myself the potentially nefarious details and instead focus on, er, "to" the light. (I'm good and ready for that ever-lovin' slap now!).

Recommended to fans of hyper-melodic Scandinavian trad metal such as above mentioned, alongside energetic and stimulating 70s rock in general, notably, as outlined below, that swell pair of old-school "Lizzies" our like-minded, fist-pumping pal is so keen about.

Highlights:

"Delusions in the Sky"
"Secular Wire"
"Vindicated Blues"
"On the Run"
"Walk Me Under"
"To the Light"