Drift Into Black have always delivered top-notch gothic/doom/prog metal, emphasizing an original foundation amidst incorporating flavors of Paradise Lost, My Dying Bride, Candlemass, and Ghost. That they’ve released six LPs in as many years (starting with 2018’s Dead Suns Under the Forever Moon) makes their consistency even more remarkable, and Voices Beneath the Rubble only bolsters that distinction. Very much following in the footsteps of 2022’s Earthtorn, its lack of growls and emphasis on symphonic elements results in their gentlest and most pleasingly cinematic outing yet.
Another conceptual venture (although its narrative/themes haven’t been revealed), Voices Beneath the Rubble sees the trio – vocalist/multi-instrumentalist Craig Rossi, bassist Paul LaPlaca, and drummer Klemen Markelj – “evolve[ing] as musicians and storytellers” to create “their most immersive album to date.” No matter what it’s actually about, the record flows exquisitely and indeed taps into a wide range of emotions and styles.
Despite being calmer overall, the collection still packs quite a punch. Instrumental prelude “The Horns of Despair,” for example, lives up to its title by providing roughly two minutes of medieval chants, desolate piano chords, gloomy strings, and increasingly aggressive riffs and rhythms. Obviously, it sets the stage well for what’s to come while demonstrating the band’s advanced ability to pen nuanced and tasteful arrangements.
At its peak (halfway through), the title track is steered by relentlessly feisty percussion, malevolent orchestration, rebellious guitarwork, and apocalyptic lyricsm (“Screaming loud, you hear their voices / Beneath the rubble / Don’t look back on what you’ve left behind”). It’s a diabolical yet elegant musical landscape that, in every way, is alluringly theatrical. The same can be said for the belligerent “Forever King” and “Blood Storm,” both of which are satisfyingly sludgy and hellish without reaching the brutal heights of prior compositions such as “It Fell From the Sky” and “Snowbound.”
Elsewhere, the trio explore some of the most melodic and welcoming material they’ve ever made. Specifically, heavy metal homage “The Great Machine” is gruff but also very catchy and straightforward, with a traditional structure that lends itself to radio airplay. Later, ballad “Last Hope” is remorseful and relatively delicate – especially during the longing chorus – and its faintly Celtic timbres and symphonic backing add to its beauty and emotionality.
“What’s Left in the Fire” even features ethereal female harmonies (courtesy of Alyxx), plucked strings, piano chords, electronic tones, acoustic guitar strums, and reflective lead vocals. Combined, they yield one of Drift Into Black’s most affectively cinematic and refined compositions. Finale “December” retains all of those qualities, too, allowing the LP to linger with haunting implications and stylishness long after its concluding bellows and dissonance fade away.
Regardless of if Voices Beneath the Rubble is Drift Into Black’s magnum opus, it’s absolutely a worthwhile new addition to their esteemed catalog. Again, the fact that they’re able to consistently produce quality work at such a steady pace is outstanding, and they mix up their formula enough to please and surprise at every turn. Sure, the record’s marginally gentler path may not work for everyone, but it’s a risk that most fans should at least appreciate if not adore.
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