Style: Progressive rock, alternative metal (clean vocals)
Recommended for fans of: Soen, Fair to Midland, Rishloo, early Riverside, late Porcupine Tree
Country: UK
Release date: 27 March 2026

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Last year, when the debut from symphonic progressive death metal act Changeling dropped, we were all singing its praises. And then our colleague Andy listened. Try as he might, he just found that something was missing; a sense of gravity, of depth, a je ne sais quoi which profoundly affected his enjoyment and made him seriously question his own judgment. About three weeks later he realised he’d accidentally put his phone EQ into mono. Safely back in stereo, all that missing weight (and a missing orchestra) rushed up to tickle his ears with all the auditory delight contained therein. I impart this anecdote upfront to make something clear in advance: I’ve checked my audio settings. 

Welsh act Godsticks have been around since 2009 and VOiD is their seventh album. The sensibility on display calls forth a particularly late noughties alt metal energy, akin to that of acts like Soen and Fair to Midland. Dynamic headbangable rhythms with a soupçon of time signature experimentation for good measure define VOiD, which is built around punchy riffs, shredding solos, restrained yet zesty drumwork, and the unusual yet compelling timbre of frontman Darran Charles whose adenoidal delivery occasionally draws to mind the late Brent Hinds (Mastodon).

The tightly written riffs and often rather tasty solos of Charles and guitarist Gavin Bushell are a consummate highlight. Whether it’s the consistently sick riffing of “Torn Again” which edges its outro riff into a cathartic solo, the punkier attitude and synth interplay of “Can’t Withstand” with its strident whammy effects, or the unabashed shred that doesn’t hold back on “Hold Back”, the guitarwork is the centrepiece of VOiD. “Master of a Plan” goes for a whole other vibe with a grungier approach to vocals, interplay of 3/4 and 7/4 grooves, and a bluesy Pearl Jam-esque solo. “Talking Through Walls” counts as the album’s ‘epic’ as a two-part track which totals eight minutes and allows the band to explore a more holistic vision. 

Still, I’d be lying if I said I didn’t sometimes want to see drummer Tom Price stretch himself further and break out of his largely consistent mid-tempo feel—his judicious contribution is quite satisfying, especially in his quiet yet confident lead in odd metres, but is undeniably a little one-note. Everything about VOiD is functionally competent, and sometimes, especially in those guitars, impresses immensely. Godsticks successfully breathe life into an older style, and yet all those efforts are almost for naught thanks to VOiD’s Achilles heel: the production. 

Unfortunately, every sense of soul Godsticks have is utterly sapped by some of the most inert production I’ve heard in a while. Riffs clearly possessed of groove and heft are rendered thin and weightless, little livelier than the distortion midi on Guitar Pro 5. The mix’s complete neglect of the low end means the contribution of new bassist Francis George is largely dead on arrival, while the drums are flatpacked and in need of assembly. If I may coin an adage: max out the mids and mid is your max. The only thing that really stands out is Darran Charles’ voice which, despite being louder than everything else, still feels so compressed by the mix as to be stripped of soul; an unusual timbre like his would be rich and delightful in the right hands, but becomes somewhat shrill in this auditory mess. VOiD seems to have been recorded in an airless, pressurised chamber. Seven albums into your career, there’s little excuse for such amateurism. 

Talking about VOiD is hard without addressing all the musical elements which become lost to the mix. There are some apocalyptic backing horns on “Can’t Withstand” but the compression lends them all the portentousness of kazoos. Similarly, “Torn Again” features a cello which, like everything on this album, sounds like it’s been pounded flat; there might be some accompanying woodwinds on this track, but it could be the flat cello again—I simply can’t tell. There could’ve been a version of VOiD with production capacious enough to care for all of these elements, and so the final product is a frustrating affair. While a perfect mix would not a perfect album make, it would at least showcase Godsticks’ obvious strengths and stop me from having to strain just to hear what the band want me to hear.

VOiD may well have fallen victim to the worst production job on an ostensibly strong album since the day Rick Rubin shook Lars Ulrich’s hand and spontaneously developed a persistent and debilitating lifelong battle with tinnitus. Godsticks are never less than competent, and are frequently compelling, even if they perpetually sound like you’ve lost one of your earbuds. The grave shame is that VOiD has a lot going for it, and layers more lost to a mix which definitely isn’t lossless. All that’s left is to hope that Godsticks don’t record their next album in a void. 

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Recommended tracks: Master of a Plan, Can’t Withstand, Talking Through Walls (Pts 1 and 2)
You may also like: Derev, Inhalo, Sermon
Final verdict: 5/10

Related links: Bandcamp | Facebook | Instagram

Label: Kscope

Godsticks is:
– Darran Charles (vocals, guitar) 
– Tom Price (drums)
– Gavin Bushell (guitar
– Francis George (bass)