KEN mode – Void
Release Date: 22nd September 2023
Label: Artoffact Records
Bandcamp
Genre: Noise Rock, Sludge, Post-Hardcore.
FFO: Chat Pile, Daughters.
Review By: Jeff Finch
Noise rock; if there’s one thing that I can say about noise rock from the numerous bands that have come across my desk, having been branded with this moniker, it’s this: they are supremely captivating. Whether it’s the damn near schizophrenic shrieks from Chat Pile or the downright terrifying atmosphere created by Daughters, noise rock is an acquired taste, and not one that’s likely acquired easily. Canadian outfit KEN Mode not only fit into this genre, of sorts, but they seem to have mastered what it means to truly be noisy: intentional, rational, loud, harsh, and, what else, completely captivating.
For all of the sludge they do bring to the table, and how undeniably heavy they are, KEN Mode is definitely not for everyone, even though they are masters of their craft. Some of the sonic landscapes they paint are just absolutely gut-wrenching, chaotic, undoubtedly cathartic, and, in a sense, garish in nature. What one takes from listening to a KEN Mode record is not just some tunes to jam at the gym or some outlandish musical talent; the gentlemen in this Canadian outfit are unquestionably talented, but what they seek to attain in recording is hooking their listeners in from an emotional standpoint.
Void, over the course of its eight tracks, is frantic (The Shrike), frenetic (Painless), subdued (These Wires and We’re Small Enough) and downright terrifying (A Reluctance of Being); to be able to churn out the type of music that appears to be the antithesis to itself over the course of just a few tracks is astonishing, but it makes sense in the grand scheme. Opener The Shrike is a crash course in emotive roller coasters, shifting from shouted vocals to broken screams, the bass and drums leading the charge, guitar taking a backseat as the song is kept at a fever pitch, close to boiling over in intensity, the feedback of the guitars coupled with the droning bass and the pounding drums indicative of some fear right around the corner, constantly on edge, as we shift into Painless, a track borne from punk. Bass and drums overtake the listener, brief reprieves offered as the band takes a left turn into pure sludge, pace never wavering, a cacophony of sounds hitting us as a demented violin enters the fold, some untold fear making us run even faster than we’ve already been for the past minute and a half. The riffs gather intensity and take over, drums never letting up, as our vocalist yells at us ‘most wish you were never here,’ a devastatingly negative mindset that matches the mood thus far.
Throughout this journey of emotions, KEN Mode uses their music to tell a great deal of the story, the vocals filling in the rest. The entire album feels like a depressive and anxious state of mind and being; pummeling drums and rumbling bass lines the heartbeat of the record, the guitar acting in a complementary role, as vocalist Jesse Matthewson shifts from a pained shriek to an angry yell to a sometimes subdued spoken word, taking the music with him, everything complementary in nature and not willing to belie anything. His vocal approach on These Wires is harrowing in its simplicity, shifting from emotionless statements, the music unassuming in nature, bass at the forefront, riffs and drum fills merely a presence to be noticed in passing, a beautiful, if haunting, piano striking with every note, to full on screams, musical intensity shifting in tandem, the entire band telling the story, not just the lyrics.
Standout track A Reluctance of Being displays this in spades; fuzzy riffs, a simple pounding drum, they open up, a deep piano tone as Matthewson declares ‘I’m never going to be ok / I can feel my senses dull / every waking moment HURTS / just a little bit more.’ It’s a heart-wrenching, goose bump inducing cry of despair and agony, vocals devoid of emotion, perhaps indicative of energy depletion from being so wired for so long, the words themselves almost belying the tone of voice as the bass finally starts to rumble in, a soothing violin sound mixed in the fold before the next declaration of ‘a lifetime of building crumbling down’ is spoken repeatedly, seguing into ‘I’m never gonna be ok.’ The bass picks up in intensity, start stop drumming, simplistic riffing transitioning into shouted vocals, sludgy riffs shifting in intensity as the vocals rise in desperation, cries of ‘I care ‘til I won’t’ absolutely haunting, guitar and bass strummed once while the drums are pummeled eight times per note, perhaps indicative of one step forward, eight steps back, or taking one step while something that’s in chase manages eight in that same time. A desperate time, as Matthewson then starts shouting, that damn violin coming in out of nowhere, the tone absolutely terrifying; no instrument should be able to make such horrifying noises and sound EXACTLY as they are meant to, but these stringed beasts do just that. Make no mistake, the use of violin here is meant to strike fear and helplessness into the heart of its listeners, and it does, literal goose bumps and chills a likely side effect.
Finale Not Today, Old Friend, is an exercise in exhaustion; there’s almost no emotion vocally, the music is eerily simplistic, the piano sticks out much more in the mix, nearly challenging the bass for attention, a calming saxophone enters the fray, then the piano and violin spark in intensity, the transition instantly shifting from almost relaxing to haunting, a wake-up call of sorts, as if the music is mimicking the emotional responses of the anxious and depressed, one second feeling okay and the next moment SOMETHING is wrong. It’s poetic, it’s frightening, it’s absolutely masterful composition.
All things considered, an album like Void is difficult to recommend, in some senses. It’s harrowing, it’s terrifying, it’s a pure emotional trip, and it’s done with such extreme attention to detail and thoughtfulness that it should be required listening for anyone that is a fan of rock or metal. However, the way in which KEN Mode approaches their compositions can certainly be off-putting to some listeners, and may be difficult to ‘enjoy’ in the traditional sense. Some people will love this record, some will hate it, and some may find themselves right in the middle. There are a bevy of individual moments on this record, pieces of music, vocals, lyrics that can be taken in or out of context that resonate with listeners, just as there are full on songs that may completely resonate with listeners. For this listener, the entire thing not only resonates, but it CAPTIVATES; what KEN Mode has accomplished in recording and releasing Void is nothing short of sensational. They have crafted an emotional juggernaut of an album, one that this listener can’t help but recommend for no other reason than it’s probably the most emotionally distressing album I’ve heard all year. 
(5 / 5)
