Record Review: 'Hollow Gods' by Atravion
- sonicwonderofficia
- Sep 27, 2023
- 6 min read
On the 28th of January 2022, local 5-piece metal band Atravion dropped their debut EP release. The band have since been seen all around Kent performing songs from it, which have gone down like a storm in prestigious venues such as The Booking Hall (Dover) and Leo’s Red Lion. (Gravesend)
We gave it a listen.
What we discovered was the sound of a band that had been going years. A band that had already refined their sound over the course of multiple record releases and dozens, if not hundreds, of live performances. So, to find out that they had only been an official band since 2020 and that this was their first record, was mind-boggling. The performances are top-notch, the production pristine, the writing incredibly competent for such a young band.
Treading the Sea of Ash
The record begins with a beautiful arpeggiated acoustic guitar piece, followed by the haunting sound of a violin, processed to sound crackly and vintage. As the entire band enters, the mood is instantly set for all the characteristics of a melancholic folk record full of reflection and sorrow. It builds up and crescendos into the next song.
Beneath the Blackened Sky
Then you are hit in the face with a full force metallic slap. This is not a folk record. This is heavy metal.
Straight away, the listener is met with an introductory passage of complex guitar playing and syncopated rhythms, perfectly stabbing in unison together. Your first proper impression of Atravion is created at this moment and it’s quickly made apparent that tightness is their forte. The lead playing comes off as effortless whilst the rhythm instruments establish an immediately strong foundation. They do not disappoint for the rest of the EP.
This second track features a certain ‘riffing’ style that becomes clear throughout the duration of the record, in which the band keeps the speed up-tempo and heavy during their verses, breaking into more melodic passages for the choruses. Growl screams enter, courtesy of either rhythm guitarist Joe Clout or vocalist Kelsey Graham, which add the intense flavour of modern metal. The song travels at a rapid pace throughout a couple of verses and choruses, demonstrating Kelsey’s powerful pipes that could be described as lying somewhere between the projecting baritone of Howard Jones (Killswitch Engage) and operatic thunder of Bruce Dickinson. (Iron Maiden) After a long held note, Kelsey humbly drops out to allow his instrumentalists to set the shining standard.
It reaches a bridge where everyone shows their chops. Specifically, drummer Craig Randall and bassist Dan Acott prove how in control of the tempo they are by slightly slowing down and locking in with each other in a potent musical partnership of rhythm. Acott shows he is no ‘root note’ player as he dances on the fretboard, presenting the melodic side of bass. Clout, to this point already playing a rock-solid rhythm guitar, provides a beautiful layer to the music by going clean and softly playing in the background whilst his fellow guitarist, lead player Mat Nowacki, solos. It should be noted, that if you listen carefully, Kelsey’s voice can be heard in the background hitting some incredibly impressive high notes. Despite this prowess, he stays in the background as it explodes into the main solo section, where Mat shows just what he can do – that is, very impressive and accomplished soloing.
The song reprises the soft section from the previous track, essentially bookending this first song with that sullen moodiness.
Disconnected
The third track begins as suddenly as the second, and it keeps up all the standards and traits of its predecessor, continuing the fury.
Kelsey extends his vocal range here and hits some pleasing highs in the pre-chorus section. Joe Clout provides a mean backing vocal with his powerful growl vocals that contrast but complement the clean singing. Joe Clout and Mat’s chemistry as colleagues starts to really show, as their guitars chug and harmonise together extremely well.
Once again, a breakaway from the main song features, where the tune strips away leaving a breakdown section where the bass shines, almost like little solo for the low-end. Tonally it is harmonically rich and cuts through the mix like a knife, driving the song into another guitar solo section where Mat continues his satisfying indulgence in prolific lead parts. Mat is undeniably a skilled soloist and all the years of practice are paying off, as they are with the rest of the band.
By this point, ‘Disconnected’ is an ironic name, considering how locked in everyone is with each other.
Typhoid & Swans
The fourth track seems to currently be the bands most popular song. Released as a single shortly before the EP’s release, it was a teaser of things to come.
The complexity of the lead lines and rhythmic elements has been shown a number of times now, being executed fantastically well despite being very difficult music to play. Craig Randall has been an absolute powerhouse behind the kit so far, grooving hard and filling thrillingly. He can transition between various feels and times with absolute ease – an often overlooked trait in metal drumming that is most important to possess to ensure the music doesn’t fall to pieces. Something to note in this particular song is the band’s ability to swap between a ‘straight’ feel and ‘triplet’ feel. For non-musicians, listen to the intro and then listen to the verses: it should feel different when you bob your head to either of them. This is what we mean!
Kelsey’s maniacal laugh after the first chorus adds some character to the music. At the end of the song he hits an impressive C5 note (and a C#5 just before) in full voice, which is far above the typical top note for his voice type. This just about shows how talented Kelsey is as a singer. All musicians of the band by now have shown their proficiency for their chosen instruments.
1000 Days
Track number five features all the good stuff from before, and probably has the catchiest chorus on the entire record. Vocal harmonies haven’t really been very present, but they are done very well in this song and shows that they have it in the bank. Some impressively fast chugging is accomplished by guitarists Joe Clout and Mat, who synchronise well. As usual, Dan’s bass cuts through and reminds everybody how brilliant it can shine despite the craziness of the drums and guitars.
Nameless Grave
Track number six, the last, is the ultimate finisher. Also featuring a fantastic chorus that becomes an earworm after a few listens, it has a strong focus on melody and catchiness.
The mid-section to this one is probably the most ferocious and hard-hitting of them all so far. Drummer Craig absolutely thunders through it with his massive blast-beating and double kick drumming. Coupled with the bass, it is apparent that the guitars purposefully hold back on this final song to allow the rhythm section some limelight.
After 25 minutes of pure metal power, the song concludes the debut EP with a sustained chord that fades out.
Summary
There’s a lot to be said for the quality of this record. The songs are written well and flow nicely, expertly woven together so that they tell a sonic story. Lyrically, the group gives us something rather reminiscent of epic literature and ancient storytelling. The image of battles and struggles to cope in a harsh environment could be seen as metaphorical for modern day struggles, whilst abstaining from being openly political and giving the listener a fantastical image to cling to and appreciate. Nevertheless, the music and lyrics are sophisticated in their construction, gelling well together. Whether or not this is a theme that Atravion wish to pursue further or is simply exclusive to this record remains to be seen.
The mixes are huge and have much clarity which makes the music shine. There is never any struggle to hear any instruments and so every little detail is exposed to the listener. This can be difficult with metal music, due to the loudness of many guitars all awash with heavy distortion. But this is a fine example of how to do it. It is unsure who the mixing engineer was, but they did a splendid job. The artwork is also very good and it complements the themes of the record perfectly. It is a fantastic piece and harkens back to the good old days of when LP’s were still a great outlet for artists. This one would certainly look good on a 12” cover!
‘Hollow Gods’ is a tremendously strong debut EP. Usually, bands start off with material that is clearly in its infancy, with the production reflecting this. However, Atravion have already set a very high benchmark for themselves through the release of this record. Whilst the standard is now very high for whatever work the band does next, their talent and passion is palpable and are most certainly capable of matching it.
Since the recording of the EP, drummer Craig Randall has since left the group and Joe O’Neill has wielded the mighty sticks to drive Atravion’s energetic sound since late 2022.
Keep your ears open for this band!
Links to Atravion's pages and music:
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