Call of the Void aren’t exactly a by-the-books grindcore outfit. Though their sound is rife with blast beats, nihilism, and chaotic fury, there are unbelievably heavy sludge riffs, thunderous crust-metal polyrhythms, and bit of the brash aggression of ‘80s hardcore mixed in too.
Founding member Patrick Albert attributes their sound to the fertile scene of extreme bands located in the Denver/Boulder region that have inspired him to draw from several different subgenre wells. Like-minded members of Call of the Void’s cohort—Primitive Man, Blood Incantation, and Vermin Womb—have never colored fully inside the genre lines, interested more in the pursuit of heaviness and intensity by any device necessary. Call of the Void’s newest EP, AYFKM (produced by go-to metal engineer Dave Otero), continues to polish the sound they developed on their previous releases, Dragged Down a Dead End Path and Ageless.
We spoke to them about all the elements that came together on AYFKM, including their punk influences, and keeping the flame burning without burning out.
You mention punk rock quite a bit, is that an influence?
There’s a part in this stoner rock documentary called Such Hawks, Such Hounds where they talk about being old punk dudes that just slowed down punk songs and then became a doom band. That really resonated with me. It really is all just the same music just played at different tunings and different speeds. A lot of people call us grindcore, but none of us really listen to grindcore music whatsoever. We have blast beats but that’s about it.
Punk riffs are the best riffs; timeless classic music. We wanted to do all versions of that. The first song [on AYFKM], “Get in the Van,” is obviously an homage to Henry Rollins. The whole concept of that song is that I wanted to take a sludge riff at the beginning, so a little homage to Carnivore and Sleep’s Dopesmoker and then use it again as the chorus just played faster. That’s pretty much what we do: we like the sludge and then we play it at punk speeds.