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VOID
Forbidden Morals

Shadow Kingdom (2025)
Rating: 8/10

Lafayette, Louisiana-based thrashers Void may boast one of the most uninspiring band names ever, but they most certainly catch the ears with their sound and the eyes with their cover art.

Forbidden Morals is the follow-up to 2023 debut album Horrors Of Reality, but this time around there’s two new members. Bassist Blake Adams takes over from Logan Davenport and guitarist Chris Braune replaces long term member Alex Bernard. Vocalist Jackson Davenport, guitarist Gabe LeJeune and drummer Aaron Landry remain from Void’s 2019 formation and complete the current line-up.

The cover art is very 80s in its style, reminding me of something from the classic TV cartoon series, He-Man And The Masters Of The Universe. Working in tandem with such nostalgic artwork is a familiar thrash sound, something I’ve come to expect from a majority of bands within this cluttered genre. Even so, Void is an energetic combo that keeps its riffs fresh and drums crisp.

The sound drifts effortlessly between Mercyful Fate, but without the evil, and, say, Annihilator although not quite as technically accomplished. There’s a bit of Iron Maiden too, Judas Priest, Sanctuary and pinches of San Francisco Bay Area crunch. In fact, whether it’s the Teutonic slaying of Destruction or the snap of U.S. under carders Heathen, there’s plenty to latch on to here.

The title track features an array of shifts, sporadically reaching tech-thrash levels, the next outing for some traditional values where the bass gallops with intent. ‘Gateways Of Stone’ is a pure thrash assault featuring some killer high octave yelps and steely, spiralling solos which ascend from the smouldering ash caused by the smoking hot riffs. The bass remains prominent, adding that extra bulk to what is already a wholesome menu of thrash.

Closing song, ‘Beneath… Lives The Impaler’, channels the sublime grooves of Bay Area experimentalists Mordred but without the funky flavours. Void forever shift between gears, often remaining pacey but not afraid to implement intricacy. ‘Apparition’ is more simplistic, relying on the heavyweight chugs which wreck the ears with their thunder crunch. ‘Judas Cradle’ sounds like a rougher, more streetwise Sanctuary fused with a Bay Area rattle, but there’s always a scintillating melody within the forceful layers. ‘Return Of The Phantom’ is another direct hit, as the Teutonic strikes cause ripples of destruction and menace.

The vocals have those gang chant sort of jabs which littered so many U.S. thrash albums in the 80s, but when one considers the amount of influences here, Void still manages to sound so exuberant and impactful, building punchy compositions laced with far darker tones than on the previous release. Alongside the recent Sadistic Force EP (Morbid Odyssey), Void has been on heavy rotation, so open your heart, mind and ears to the continuing reign of thrash.

Neil Arnold

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