We’re at less than a month’s remove from the release date of Forming the Void‘s second album, Relic (review here), and already it’s apparent that the Louisiana four-piece are turning heads in their direction. The follow-up to 2015’s Skyward (review here) is also the first outing for the band to be issued through Italy’s Argonauta Records, and it further solidifies the progressive charge of its predecessor with a crisp delivery and a marked sense of scope across its span. It toys with but is by no means subject to heavy rock genre restrictions, and one finds it no less at home in the aggro-catchiness of “Biolazar” and the post-Torche lumber of “Plumes” than it is in the more tripped-out roll of “Unto the Smoke” or the take on Led Zeppelin‘s “Kashmir” that rounds out.
United by a clean and clearheaded production, Relic freely careens between a swath of influences from the modern sphere: here touching on Baroness-style melody, there on Eastern-scale guitar leads like that in “Endless Road.” And though they don’t shy away from acknowledging the complexity of what they’re doing, neither do the album’s eight tracks come across as inflated. If anything, as asserted below by guitarist/vocalist James Marshall — joined in the band by guitarist Shadi Omar Al-Khansa, bassist Luke Baker and drummer Jordan Boyd — they’ve become stronger in terms of their editorial voice, so that the resulting output is all the more efficient and communicative in its purposes. That’s an ongoing process, of course, but so is creativity as a whole, and Relic sees Forming the Void take pivotal forward steps on a number of levels, establishing them as an act consciously dedicated to their sonic progression.
Below, Marshall talks about the origins of the band, what they learned from Skyward going into Relic, the mysterious figure on the front cover of both their albums to-date, working with Argonauta and more.
Please enjoy the following Six Dumb Questions:
Six Dumb Questions with Forming the Void
Tell me about getting Forming the Void together. Did you have a sound in mind first, or did you start playing and then the band’s style began to take shape?
When I first started looking for people to play in the band, I was just looking to play rock music. When we all got together in a room, each of our strengths just naturally came through in the music. As we’ve grown, we’ve steadily tried to play on those strengths more. The most drastic change is we’ve been steadily getting heavier.
Talk about your writing process, in general and for Relic particularly. What lessons did you learn from Skyward and how were you able to bring them into the new album?
With Relic the ideas were a lot more deliberate rather than the spontaneous jam room ideas that led to Skyward. I think each approach has its merits, but it was nice to be able to sit down and A-B parts to get a better idea of how we wanted something to flow. One lesson I think we took from Skyward was editing and trimming parts down if they didn’t serve a purpose. We have less long music breaks in Relic but I think it’s more well-packaged that way.
How long were you in the studio this time? How did the recording experience compare to when you put together Skyward? It seems like a really quick span between the two records.
We started tracking Relic in mid-July and finished reamping stuff mid-October. It was a very different experience than Skyward, which we tracked in a few days. We recorded drums at my buddy (and mastering engineer) Jai‘s house and tracked the rest at my house. It was a good and a bad thing to have that much time to obsess over it.
Both album covers feature hooded figures and the classic comic style of David Paul Seymour. Does that hooded character on the front of Relic have some special significance to the band? Does he have a name? Is there a story being told about him either through the album or the art?
There’s something nice about having a figure defined by his ambiguity. I think it’s a lot like our music; kind of hard to put a finger on it. There’s definitely a sense of mystery surrounding the artwork, especially the hooded figure, which is intentional. In that vein, I’ve never thought of giving him a name or a backstory. He’s just omnipresent; a veiled servant to a greater purpose.
How did signing to Argonauta Records come about and how has it been releasing the album with them?
Our friend Jason Ogle from Electric Age actually got me in touch Argonauta. It’s been really cool. [Label head] Gero has been incredibly helpful throughout the whole process and Argonauta has been really nice to work with. I couldn’t have asked for anything better from our first signing experience.
Any plans or closing words you want to mention?
We recently signed a deal with Lonestar Records from Germany to release Relic on vinyl. We’re pretty excited to have that coming. It should be released sometime between June 2nd and 9th. Vinyl has been a goal of mine for a while so we’re pretty stoked to finally have that come to fruition.