Transitions walks a line between being resoundingly complex and beat-you-over-the-head straightforward. The fifth full-length from Sweden’s Vokonis is the first to come from the Borås-based band since guitarist/vocalist Simona Ohlsson realized and began living as herself, and much of the thematic throughout the six-song/43-minute outing derives from that experience, as telegraphed from the glorious Kyrre Bjurling cover art referencing the trans pride flag to song titles like “Deadname,” which opens the record in likewise righteous and riotous style, to “Chrysalis,” “Arrival” and “Transitions.” It is a tumultuous course. Ohlsson, drummer Sven Lindsten and bassist/backing vocalist Oscar Johannesson explore a shift in dynamic after the departure of guitarist Jonte Johansson — since the recording, the band has brought in Hedvig Modig on guitar, backing vocals and noise — but there is no confusion, either of craft or the underlying expressive purpose to which it’s being put.

Some of what Transitions sets itself toward accomplishing in terms of the band’s sound received a preface with last year’s Majestic Mountain Records label-debut Exist Within Light EP (discussed here), but these tracks — recorded with Mikael Andersson at Studio Soundport, who also mixed (Magnus Lindberg mastered) — are a triumph unto themselves, sonically as well as in terms of the emotional and existential journey being conveyed through the material. It’s not a tale that gets whitewashed or oversimplified, and as “Deadname” picks up from its quiet intro about 30 seconds into the album, it begins a rush of deep-curl riffage and chug that reminds of Leviathan-era Mastodon before receding to an insistent chug behind the first verse, which for many listeners will be the first time hearing Ohlsson‘s voice post-transition. She is admirably unflinching in that moment, and while there are still harsh vocals to be found throughout Transitions, the choice to begin melodic, to not flinch from demonstrating to their audience who the band is, feels purposeful and powerful. “Deadname” has a hook, and the lyrics, in which Ohlsson simultaneously hopes and commands “Stay with me” in the chorus, ending with the line, “Forget my deadname.”

The conservatism of underground heavy as a genre takes multiple shapes, among them political, and there are aspects of Transitions that feel bold in their undulled defiance against that. Not only does the pocket culture of doom/heavy need voices beyond the disaffected-straight-white-dude paradigm, it needs them from bands like Vokonis, who are able to channel such a self-declaration into songs that are consuming regardless of one’s awareness of the context. “Phantom Carriage” follows behind the leadoff as the raging second piece in a four-song side A set — “Arrival” (10:50) and “Transitions” (12:24) comprise side B on their own — and brings harsher vocals, black metal-style char in the layering of guitar, and a crunch of extremity in the low riffing that sets up a contrast to the soaring chorus without falling into modern heavy metal’s growl-verse-sing-chorus trap of predictability. Vokonis aren’t strangers to embracing their more brutal side, whether one wants to bring in 2019’s Odyssey (review here) as a comparison point or any of their work prior, but the aggression early in “Phantom Carriage” becomes part of a more complex scope as the song breaks in its midsection for a moment of likewise Mastodonic proggy echoing guitar (I think I hear acoustic layered in there as well, plus effects) and contemplative melodicism.

Then of course it comes roaring back as Lindsten‘s drums turn to the toms and the band digs in again ahead of the solo. A final chorus reignites the earlier charge as “Phantom Carriage” pushes to the finish, and the subsequent “Ping Fang” (video premiere here) is no less crucial to the procession of Transitions as a whole for being a four-minute good-time-groover blowout. It sounds free, and true to the title’s reference to the band Red Fang, is refreshing in not taking itself too seriously. The shortest song on the record, it answers the heft of tone wrought in “Phantom Carriage” and the winding movement of “Deadname” with a rocker’s mindset, sweeping into its chorus at about a minute and a half into its course, still with some sinister edge as the guitars converse with each other, hinting at the midpoint explosion as it comes from a whisper-topped stretch and quickly moves into a bridge en route back to the hook from whence it came. Pointedly not fluff, “Pink Fang” is nonetheless unrepentantly fun while staying in league sound-wise with the rest of what surrounds by remaining heavy as all get-out.

With “Chrysalis,” the back-and-forth nature of Transitions‘ A-side comes back into play in terms of the rougher vocals, but the way the notes echo out of the chorus guitar brings differentiation between it and “Phantom Carriage” as the galloping progression slams headfirst at 1:28 into a sludge-metal chug worthy of 16 that’s given a duly nasty growl overtop. They’ll bring that tradeoff back again in short order, followed by a solo, but they save bludgeoning nod for the finish, and they’re only right to do so as the last of th album’s structurally-taut material gives over to “Arrival” and “Transitions.” These two more extended cuts feel separate in intention from the likes of “Pink Fang,” and they are, but I don’t think being able to do more than one thing on a record hurts Vokonis and the tones are consistent even as “Arrival” unfolds its first half with a patience that offsets the urgency of side A, while as one might expect taking on a more encompassing sound. The punch of bass behind the bridge soon joined by far-back vocals grounds as the drums crash and the guitars embrace entwined meander, and at 6:31, the band aligns ahead of the solo and turn to meaner and more intense fare.

It’s not unexpected that “Arrival” would play out in such a way as to account for the beastlier side of the band, and the concluding title-track follows suit, but as they have all along, Vokonis render these changes fluidly and in more than obligatory okay-now-we-get-growly style. The ordering between the side B pair is somewhat counterintuitive — one expects to ‘arrive’ at the end, and indeed “Arrival” is a crescendo of sorts as it complements its harder-hitting parts with melodic breadth and rides out with deceptive grace over double-kick and, ultimately, standalone guitar — but the closer will not be denied its place, less because it’s the longest track than because it’s both the core of the story being told and the point at which the various elements at work across the album that shares its name come together and look to the future. “Transitions” is supposed to be a bumpier path, and it is, but Vokonis remain in control as screams and crooning go line-for-line in the first half or the band find their way into a head-down stretch of faster gallop, breaking at 4:40 with a crash to let the bass begin to rebuild.

They dwell in this part of the closer in a way they dwell nowhere else on Transitions. For more than two minutes, the guitar and bass seem to search, and before the drums thud back in at 7:08, there’s full silence. Is this the moment of transition made? Is it leaving behind the person the world thought you were to be who you now know you’ve been all along? I don’t know, but as “Transitions” begins anew more than halfway in, keyboard/effects sounds accompany the build of rhythm and the gradual alignment of the guitars, and the resulting roll creates a landscape in which the returning vocals are lower-mixed and contemplative en route to a plotted solo no less soulful. This is the ending. The solo becomes part of the backdrop and the vocals come back one last time, and from there the song kind of takes itself apart, the hum of keyboard or synth as the last piece to go. Any headscratching as to why “Arrival” doesn’t end the album is answered by the title-track itself, and as they’ve already offered that final solace, ending Transitions with “Transitions” comes across as correspondingly poignant and true to the spirit of the record as a whole, which at no point shies away from honesty in telling the story it tells.

I don’t know how things are for trans people in Sweden. I know that where I live, violence against LGBTQ+ individuals is a largely-ignored daily horror, and as the parent of a trans child, I won’t pretend to be impartial in my admiration of the way in which Transitions proclaims Ohlsson or the band as a whole. But I’ve covered Vokonis since their days as Creedsmen Arise, and this record presents the truest vision of persona I’ve yet heard from them. Amid encroaching fascism and the devaluing of lives, it is a breath of fresh air, and a vibrant victory in the face of a darkness that would punish it for nothing more than existing as itself. Fuck that world. This is the one to live in.

Vokonis, Transitions (2024)

Vokonis on Facebook

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Majestic Mountain Records store

Majestic Mountain Records on Instagram

Majestic Mountain Records on Facebook

Sweden’s Vokonis will release their fifth album, Transitions, on Oct. 25 through Majestic Mountain Records. It is unmistakably the boldest work the band have ever done, and that it is introduced to public eyes and ears by a goofball video for “Pink Fang” that includes Evil Dead 2 nods, well, could hardly be more perfect. Themed as a chronicle of guitarist/vocalist Simona Ohlsson‘s trans experience, the undertaking that is transitioning and the emotions surrounding, highs, lows, and a good bit of headbanging, as well as dealing with the shift in dynamic following Jonte Johansson‘s departure from the band.

The record could easily have gotten lost in navelgazing indulgence, not the least for the band’s foundation in progressive and atmospheric heavy rock. But while Transitions is for-sure a journey and intended to be one as it crucially delivers an it’s-going-to-be-okay message in putting the declarative “Arrival” before the tumultuous closing title-track on side B — the two extended cuts are clear complements and something of an album unto themselves — at no point do Vokonis let go of considering their audience, whether that’s such delivering of emotional comforts or, as with “Pink Fang,” throwing heavy bruiser elbows with chugging radness and riding a groove that dares to be fun, catchy and sweeping in a breakout triumph that’s no less a statement of freedom on the band’s part, and thus an all the more suitable analog for the 43-minute LP from whence it comes.

We’re a ways off from Oct. 25, and barring disaster, I’ll have a proper album review up before then as well (I would both do another premiere if offered and not presume to ask or be asked), but if you caught Vokonis‘ 2023 EP, Exist Within Light (discussed here), you have a good foundation as regards perspective for where Transitions is coming from. If you missed that, it’s streaming near the bottom of the post for when you’re done with “Pink Fang” and are inevitably ready for more. I think album preorders start tomorrow, when the single officially hits streaming services and all that.

Enjoy “Pink Fang” below. The PR wire brings context for song and LP beneath, in the blue text:

Vokonis, “Pink Fang” video premiere

—

We are thrilled to bring you the first single “Pink Fang” and accompanying video from the much-anticipated new album “Transitions” by Sweden’s Vokonis.

“Pink Fang” launches directly into the heavy swing of what’s to come with the release of “Transitions” and features a heavy dose of hypnotic head nod with stomping grit and a glorious, anthemic chorus. Simona’s powerful vocals and raging riffing are unmistakably ever present with their constant fire and confident ferocity whilst the immensely thunderous rhythm section dead lifts the driving framework and added growl for this incendiary track.

Simona tells us a bit about the track and the video:

“..Its one of my favorite songs I’ve ever written. It’s upbeat with a huge chorus and I just felt like I wanted to have a song that was fun and danceable. When we were making the video, we had some discussions with Hampus who shot and edited it, and we wanted to do something that was very early YouTube. Subpar acting and FX but with a lot of heart and nods to films and shooting styles we love, like as Evil Dead 2. It’s comedy, it’s a little stupid in a way, and I love it.”

With beautiful artwork from the talented Kyrre Bjurling, though heavily censored, which in a way is allegorically fitting as well as kind of hilarious, we are served the full package of Vokonis in their current essence, a band at the top of their game, continuing their epic journey with the fiercest of focus and fire, kicking ass at it, and dare we say, having a bit of fun while doing it. (You’ll be able to see the full uncensored version of the artwork on Bandcamp who continue doing the good work by allowing artists to present their visuals unencumbered by the algorithm.)

“Pink Fang’s” official release [is] this Friday on 23.08!

Pink Fang was shot and edited by Hampus Melin.
Featuring Daniel Jönsson as “The Thief.”
Art by Kyrre Bjurling.

Majestic Mountain Records is proud to announce the official release of “Transitions” the fifth full length release from the incredible Vokonis.

“Transitions” is a triumphant and deeply multifaceted expression of resilience, determination, unflinching bravery and becoming and this highly anticipated new release from Sweden’s ever evolving Vokonis is nothing short of stunning in its conception, performance and delivery. This album demands space, time and attention and submitting to its power is a true and rewarding joy unlocked on the spectrum of modern, heavy rock.

In this latest addition to the Vokonis lore, the band unfurls six, huge tracks of progressive, technically articulated heavy metal with tinges of post rocking glory and djenty crush, blended vocals on the spectrum of blackened harshness to melodic, grungy crooning. Expect to be enthralled by absolute walls of gorgeously sanguine yet viciously viscous tone erupting from the vast spectrum of Simona’s masterful riffing, alongside bounding swing, neck snapping dirge and churning chug from the beguiling din of Oscar Johannesson’s rumbling bass and the blinding, percussive pertinacity of drummer Sven Lindsten. In all of its supreme heaviness, “Transitions” gives us over 44 minutes of pure, exhilarating, heaving emotion and the band shows no signs of slowing their experimentally visceral, evolutionary train whilst they continue to build evocatively upon their progressively expansive trajectory. Emerging from the fire of this release is a reverent tenderness and an enveloping light enters through the shadows, like the warm luminosity of golden hour catching the reflection of the soul in its slow, languid glow. It is also through this vivid and tangible light that a sense of deep explorative wonder, dare we even say “fun” enters the proceedings as the band seem to truly let loose, harnessing their newest constellation with a natural finesse and a strong sense of purposeful, cathartic release.

Simona gives us this insight on the album: “Transitions is a vulnerable album for me. Obviously, it references myself and my transition, but it also reflects the band and how to adapt and transition into a new unit without Jonte. This band always felt like me and him against the world, so Transitions is a reflection of how to navigate life as a band without one of its most important pieces. This new constellation of the band is something I never thought possible and though we never approached things like we had to fill the shoes of Jonte, we thought more of what we wanted to do moving forward. With adding another guitar into the mix, we certainly can let loose a bit more and I have also been able to challenge myself with my vocals and grow into something I never thought I could.”

“Transitions” is a vehemently vulnerable and incandescently volatile elegy to the past yet it fiercely holds space in the present for the beauty of truth, the push of forging one’s own life’s path and regardless of the hardship, retaining a hope for the future. MMR is honoured to bring this seminal album from one of Sweden’s most spectacular bands to the world.

The pre-sale for “Transitions” begins on Friday, August 23 at 19:00. The album will come in three beautiful editions with the full Majestic treatment for your collections. “Transitions” officially hits the streets on October 25th.
More information to come.

Vokonis are:
Simona Ohlsson – guitar/vocals
Hedvig Modig – noise/guitar/backing vocals
Oscar Johannesson – bass/backing vocals
Sven Lindsten – drums

Vokonis, Exist Within Light (2023)

Vokonis on Facebook

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Majestic Mountain Records store

Majestic Mountain Records on Instagram

Majestic Mountain Records on Facebook

Swedish progressive riffers Vokonis will release their new EP, Exist Within Light, through Majestic Mountain Records on Oct. 27. Premiering below, “Houndstooth” is the lead cut from the outing — one of three, it’s joined by “Revengeful” and the title-track — which is intended as a precursor to the band’s already-done fifth full-length, which will be out next year. Three songs to chew on, then. Those who heard the then-trio/now-four-piece’s last album, 2019’s Odyssey (review here) will likely thrill at the Mastodonnery in the midsection of “Revengeful” before the sprint starts anew, or the harsher vocals in the back half of “Houndstooth” — the bite, presumably — and with the breadth of “Exist Within Light” itself, Vokonis assure the creative pursuit that’s led them from their demo days in the middle of the last decade to the realized and expansive unit they are continues unabated.

Guitarist/vocalist Simona Ohlsson hit me up a couple weeks back with word about the releases upcoming, and said she wanted to do an interview. I get asked to do a fair amount of interviews for somebody who’s not that good at it. Nonetheless, the concern was that Ohlsson‘s being trans was something of a delicate discussion, and I guess I’ve posted enough sociopolitical commentary for her to feel confident I’m at very least going to make an effort not to be an asshole. I took it as a compliment that she asked, actually, and so of course said yes. We talked for a while on camera and off about her experiences with her family and friends (positive, mostly) and the heavy underground at large (mixed) and of what got her to a point of understanding that this very fundamental thing she knew about herself for her whole life was wrong, and killing her. Ohlsson speaks frankly in the video about suicidal ideation. If that’s a trigger for you, heads up.

Because these things are impressively coordinated, you’ll note that Oct. 27 is one month from today. Additionally, “Houndstooth” was the first song written as part of this cycle, so we begin at the beginning, and maybe a bit at a new beginning for the band. Their changed configuration as a four-piece, coupled with a new and hard-won perspective from Ohlsson about the possibility of actually existing in light — and not only doing it, but doing it in defiance of dickheads the world over; making a point of doing it — come coupled with familiar crush and, in the case of “Houndstooth,” a consuming pummel that’s wielded with care and grace as it comes charging for your sternum. With the intensity of “Revengeful” in the middle and the still-heavy stretchout with vibes from New Wave and progadelia in “Exist Within Light,” Vokonis are forward-looking as ever musically.

And you know what? While we’re here, let’s just say that goes for the album too. I’m not gonna lie to you and say I haven’t heard it when I have. It’s killer, and aside from the general universe’s need of more visibly queer heavy music — not being sarcastic; I’m tired of pictures of four coded straight white dudes standing in front of a thing — it is most essentially Vokonis‘ own in sound and style. In that, Exist Within Light is an only fitting preface. The interaction between music and Ohlsson‘s experience transitioning are an essential part of the narrative here, to be sure, but if you hear “Houndstooth” below and it doesn’t land, first, try again, and second, maybe check out some of the interview (it’s not short and I don’t care; I’m doing this for posterity not to go viral) and get a sense of where Ohlsson and Vokonis circa ’23 are coming from. By the time you’re done, probably with the sub-five-minute single, you’ll be good to go.

So by all means, get to it. The band posted the single pre-save link and all that futuristic whatnot on socials. Text follows the players with song and interview, respectively.

Enjoy:

Vokonis, “Houndstooth” track premiere

Vokonis Interview with Simona Ohlsson, Sept. 21, 2023

This coming Friday the 29th of September, we will be releasing a new single entitled “Houndstooth”.

Part of our forthcoming three-track EP “Exist Within Light”, which releases October 27th. You’ll be able to have a sneak peek this Wednesday with a premiere thanks to The Obelisk.

You can pre-save the single for Spotify here: https://recordu.lnk.to/Houndstooth

You can also pre-order the EP which will be released in digital format only for now, on Bandcamp here: https://vokonis.bandcamp.com/album/exist-within-light

We have partnered with Majestic Mountain Records for this EP and our upcoming album which will be released in 2024, more information on that to come. MMR shares our ambition for opulence, quality, and unwavering support of the queerness so we are very excited for our collaboration with them.

The new album has already been recorded, mixed, and mastered and we cannot wait for Wednesday’s premiere ahead of Friday’s release of our single “Houndstooth” to begin the journey to new Vokonis material for you all.

Exist Within Light tracklisting:
1. Houndstooth
2. Revengeful
3. Exist Within Light

Written by
Simona Ohlsson
Jonte Johansson
Sven Lindsten
Oscar Johannesson

Recorded by
Simona Ohlsson
Sven Lindsten
Oscar Johannesson

Recorded 2023 in Studio Soundport, produced and mixed by Mikael Andersson. Mastered by Magnus Lindberg. Art by Kyrre Bjurling. Houndstooth pattern by Zenkaro on DeviantArt.

Vokonis are:
Simona Ohlsson – guitar/vocals
Hedvig Modig – noise/guitar/backing vocals
Jonte Johansson – bass/backing vocals
Sven Lindsten – drums

Vokonis on Facebook

Vokonis on Instagram

Vokonis on Bandcamp

Majestic Mountain Records store

Majestic Mountain Records on Instagram

Majestic Mountain Records on Facebook

Never mind its the breadth of its melodic verses, the corresponding crush of its hook, or the driving finish to which it’s all headed, Vokonis‘ new single “Null & Void” is entirely justified as a standalone release by its artwork. Look at that cover. Anyone see Arrival? Kind of reminds of that, but swampier. True, the Swedish outfit’s 2021 outing, Odyssey (review here), already boasted one of the best covers I’ve seen so far this year, if not the best — I can’t think of anything off the top of my head that’s better; if you’ve got a contender, let me know — but the sentient-swamp-fungus-root-legged-insectoid is truly something unto itself. It’s so good I didn’t even include a band picture with this post because I didn’t want to distract from it. Shit, I’ve got pics of Vokonis archived since before they were Vokonis. This was a conscious decision. Look at that thing!

And the song, which was a holdover from the aforementioned record, provides an efficient encapsulation of where Vokonis‘ take on heavy progressive rock/metal. They’re a band who can be as spacious as any and then bring that space crashing down on your head at a moment’s notice, as they do with the turns here. Having the esteemed Per Wiberg grace the organ as he does also on Odyssey is a bonus that only helps bolster their purpose. I don’t know where he lives in relation to the band’s native Borås, but he’s essential personnel on this single and on the album, and at least in my mind by now is pretty much a member of the group.

This song came out on Friday and is five minutes long and killer. You won’t regret listening if you haven’t yet:

Vokonis launch “Null & Void” stand-alone single featuring Per Wiberg

Stream the single: https://orcd.co/nullvoid

Swedish prog metal trio Vokonis launch “Null & Void”. A stand-alone single, and the continuity of the band‘s latest, fourth studio album “Odyssey”. Dynamic and experimental, the single further explores the depths of Vokonis‘ sound. The single features Per Wiberg (Spiritual Beggars, Opeth) on organ.

Simona Ohlsson, vocalist and guitarist of Vokonis, comments:

“Null & Void is a track we unfortunately had to leave out from ‘Odyssey’ due to the constraints of the LP-format. When we had to select which tracks that made it onto the album we all agreed on that it’s one of our favorite songs from the album sessions. We liked it so much we decided to make it a stand-alone release to continue the lore of ‘Odyssey’. It continues with storytelling and the experimentation with dynamics. The ending of the song is one of our favorite moments where Per Wiberg really let loose with the organs. It’s going to be a real staple in our live-set for years to come.”

“Null & Void” is out on all streaming platforms September 10, 2021. The single is released on The Sign Records.

Get Vokonis’ latest album “Odyssey”:
https://vokonis.bandcampcom/album/odyssey

Vokonis:
Simona Ohlsson – Guitar and Vocals
Jonte Johansson – Bass and Vocals
Peter Ottosson – Drums

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https://www.instagram.com/vokonisofficial/
https://open.spotify.com/artist/3DZoit5R0ahZQCNLbDnNxr?si=eh0iJ7YHQQOblw_ztadm1Q
https://www.facebook.com/thesignrecords/
http://www.thesignrecords.com

Vokonis, “Null & Void”

Vokonis, Odyssey (2021)

[Click play above to stream Vokonis’ Odyssey in full. Album is out Friday on The Sign Records.]

At the core of what Vokonis bring to their fourth full-length, Odyssey, is the blossoming dual-vocal dynamic between guitarist Simona Ohlsson and bassist Jonte Johansson. As the Borås, Sweden-based three-piece have progressed across the last six years, with steady releases acting as landmarks along the way — 2016’s Olde One Ascending (review here), 2017’s The Sunken Djinn (review here) and 2019’s Grasping Time (review here) — they have brought more and more styles of heavy under the umbrella of their aesthetic, and the six-song/40-minute Odyssey is both their most ambitious and most accomplished work in that regard. From the straight-ahead charge of “Rebellion” at the outset through the post-Scorpions progressive heavy rock touched on in Johansson‘s verses in 12-minute closer “Through the Depths,” there is nothing Vokonis reach for here that they don’t subsequently grab.

Notably, Odyssey marks the debut of drummer Peter Ottosson, who joined the band prior to the release of Grasping Time (but after the recording), and finds the band’s already formidable dynamic arrangements fleshed out through the inclusion of the near-ubiquitous Per Wiberg, whose organ/keyboard expressions build melody and atmosphere not only in the most pivotal stretches of that mentioned finale, but in the earlier title-track and the penultimate “Hollow Waters” — a highlight among highlights — as well.

The vinyl edition of Odyssey separates those last two from the rest of the proceedings, and fairly enough so, as they create a kind of flow between themselves that distinguishes from the mostly shorter surroundings — the title-track, which directly follows “Rebellion” and runs nine minutes, is the exception, acting as a foreshadow of things to come — but even in its most pointed moments of attack, Odyssey finds Vokonis confident of who they are as a band and willfully pulling their songs over the borderlines between microgenres, culling from noise, post-hardcore, black metal, doom, progressive heavy rock, and whatever else suits them as they embark on a craft that is all the more their own for being inclusive of so many elements.

“Rebellion,” then, might be the band’s statement against expectation. Its Mastodonic lead riff is topped by channel-swapping shouts from Ohlsson before Johansson joins on melodic, “cleaner” vocals. The two have never sounded more complementary than they do immediately on this three-minute piece, and the screams that arrive as the song moves into its second half act as a blindside but become a crucial element in Vokonis‘ arsenal across this Odyssey, not at all overused, but enhancing more intense moments throughout and putting emphasis on breadth almost in spite of their own rawness. “Odyssey” opens with keys and is an immediately more patient turn.

No doubt its winding initial movement will draw some Elder comparisons, but Vokonis go to someplace more pastoral across the first half, and Wiberg‘s organ backs Johansson in the song’s midsection in a way that sets the stage for a linear build over the next several minutes, a solo arriving at 6:20 born of the layered ether, shifting into higher and lower gutturalisms, and effective right unto the oh-hell-yes “blech” that follows in using extreme metal as a tool rather than a crutch — that is, not aggressive for aggression’s sake, but to add to the scope of Odyssey (and “Odyssey”) overall. Unsurprisingly, “Blackened Wings” keeps the thread going, picking up at full speed and shoving through screamed/shouted verses into a more soaring chorus, a hook emerging just in time to be swallowed by the solo that caps as the track gives way to the more moderately-paced “Azure,” which informs that “Ashes and dust will be all that remains in the end” before a final scream over guitar and organ closes out side A in righteous fashion. Seems like Vokonis might need a full-time keyboardist — or at very least a laptop — if they’re thinking of bringing this material to life at anytime soon, but as a studio work, the complexity of design the band has brought to these songs, even as barebones as their structures can be, isn’t to be ignored.

So who is Vokonis, then? Are they the rippers on “Rebellion?” The mosh-crunchers of the second half of “Hollow Waters?” The conjurors of swirl who make “Through the Depths” both live up to its title and set a new height of achievement for the band at the same time? The “duh” answer is Vokonis are all of these, and that the identity of the group as portrayed in their sound has become that much richer over time. “Hollow Waters” and “Through the Depths” should be taken on their own, even in a digital, all-at-once context. Of course, they’re consistent sound-wise with the four songs preceding, and as noted, “Odyssey” does well in prefacing the grandeur to unfold later, but even the background screams buried in the mix of “Hollow Waters” and the rumble that bounces along with the drums beneath the guitar in the first half of “Through the Depths” — thinking before the charred screams hit around the four-minute mark — are details that earn a close listen through the sheer strength of their craft.

One does not necessarily think of Vokonis as a meditative or navelgazing band, but there’s no question this material has been considered, thought through, and built with a mind toward conveying the fluidity that comes across in the end result, and it deserves all the more consideration for that. It shows that the arc of growth Vokonis enacted even from their earliest demo work had not yet peaked even on Grasping Time, and that on performance and songwriting levels, their will is to keep pushing themselves forward. May they continue to do so for the duration, because as Odyssey readily proves, they’re only more able to create something special for each prior outing. As his first recording with the band, Ottosson deserves a mention for his play and how ably he fits in style-wise, but the fact of the matter is it’s the whole band who have made Odyssey the proggy pleasure piece it is, and likewise honed the multifaceted nature of who Vokonis have become.

Vokonis, “Blackened Wings” official video

Vokonis on Facebook

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Vokonis on Bandcamp

The Sign Records on Facebook

The Sign Records website

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Simona Ohlsson of Vokonis

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How do you define what you do and how did you come to do it?

I play guitar, sing and mainly I’m a songwriter in the band Vokonis. That’s what I want to put forth the most I guess. That I write songs with my friends and are very lucky to have some people like what we do.

Describe your first musical memory.

It was probably my dad listening to Bruce Springsteen. I do not know if that’s frowned upon but I’ve been to some of his concerts as well and they’ve all been very good.

Describe your best musical memory to date.

Iggy and The Stooges a couple of years ago. I had the pleasure of being able to rush the stage during Fun House and dance next to James Williamson. Iggy is probably my biggest “rock star”. So that alone ranks it above a lot of other concerts.

When was a time when a firmly held belief was tested?

Probably around ten years ago when I lost my faith in god and religion. I was very Christian in my teens and as a lot of bad stuff happened I just couldn’t find it in myself or in the universe that god exists.

Where do you feel artistic progression leads?

To happiness. I don’t want to stand still musically. I get bored very fast if I don’t feel I make progress.

How do you define success?

To love yourself. To be happy with what I do and to surround myself with good people.

What is something you have seen that you wish you hadn’t?

Most Adam Sandler movies. Grown-Ups in particular.

Describe something you haven’t created yet that you’d like to create.

A 20-minute song. That is what we set out to do with Odyssey. It turned into a more traditional album instead but I’m still happy about it.

What do you believe is the most essential function of art?

It adds spice and value to life. The fact that art isn’t appreciated in the same way by two people speaks a lot too.

Something non-musical that you’re looking forward to?

The rest of the NBA season. I’m happy to have that going even if the pandemic is still rolling.

https://www.facebook.com/OfficialVokonis/
https://www.instagram.com/vokonisofficial/
https://open.spotify.com/artist/3DZoit5R0ahZQCNLbDnNxr?si=eh0iJ7YHQQOblw_ztadm1Q
https://www.facebook.com/thesignrecords/
http://www.thesignrecords.com

Vokonis, Odyssey (2021)

Goodness gracious that’s some gorgeous album art for the new Vokonis record. The album has been in discussion since before it was even mentioned here last Spring, and I’ll just say that yes, I’ve heard it and it’s the most progressive work the Swedish three-piece have done yet, building on 2019’s Grasping Time (review here) even as it basks in heavier heavy. If you’ve followed the band’s evolution to this point — or, I guess, if you haven’t — they won’t disappoint. Plus, Per Wiberg‘s on it!

I assume that, were the circumstances different, Odyssey would have been released last Fall. Better late than never. Expect more to come on this one, one way or the other.

Till then, this from the PR wire:

Vokonis will release their fourth studio album ”Odyssey” May 7th 2021 via The Sign!

Vokonis will release their fourth studio album “Odyssey” in spring 2021. More dynamically diverse than ever, the 6 new tracks feature guest musician Per Wiberg (Opeth, Spiritual Beggars, Kamchatka) on Keyboard. Odyssey is Vokonis’ first true prog-record. A record for the new decade.

After the success of Vokonis’ critically acclaimed third album “Grasping Time” (2019), Vokonis immediately went into recording more material. With the goal set to further expand the prog landscape, Vokonis crafted recordings that are more dynamically diverse and forward-thinking than ever before. The result is “Odyssey”, the upcoming fourth studio album by Vokonis. Ranging from full-blown doom to melodically blissful passages, the new album features guest musician Per Wiberg (Opeth, Spiritual Beggars, Kamchatka) on Keyboard.

With tangible prog- influences combined with stand out choruses, the 6 tracks on “Odyssey” further explores the sound that Vokonis introduced on 2019’s “Grasping Time”. Jonte’s clean vocal lines are effectively blended with Simon’s aggressive bark, creating tons of depth as the sound shift from dreamy psychedelia to faze-melting sludge heaviness. The new tracks are backed up by the rhythmical patterns provided by the band’s new drummer Peter Ottosson who, since his affiliation in early 2019, has proved to be a spark plug of inspiration for the band.

“Odyssey” was recorded in Studio Soundport, Sweden, by Mikael Andersson. Mastered by Magnus Lindberg. The artwork for the album and its singles were made by Kyrre Bjurling (Grasping Time, Olde One Ascending Reissue). “Odyssey” will be released on The Sign Records on May 7, 2021. The album will be available on digital, vinyl, and CD format. Get ready.

Vokonis:
Simona Ohlsson – Guitar and Vocals
Jonte Johansson – Bass and Vocals
Peter Ottosson – Percussion – Drums

https://www.facebook.com/OfficialVokonis/
https://www.instagram.com/vokonisofficial/
https://open.spotify.com/artist/3DZoit5R0ahZQCNLbDnNxr?si=eh0iJ7YHQQOblw_ztadm1Q
https://www.facebook.com/thesignrecords/
http://www.thesignrecords.com

My wife and I threw rock-paper-scissors in a best of three to decide which of us was going to put our son down for nap. She won. I had a run of victories that lasted for years but ever since then it’s been like the curse of the Bambino. I’m lucky if I make the playoffs.

But then I looked at my watch and saw it was 1:58PM and that in two minutes it would be time for Borås, Sweden, trio Vokonis to begin their live stream from Klubb Undergrunden in their hometown, and I called in the favor. Though she was plenty ready for a nap herself, the love of my life relented and took the kid upstairs to lie down.

A few minutes later, as Klubb Undergrunden Sessions II was underway with the progressive-heavy three-piece of guitarist/vocalist Simona Ohlsson, bassist/vocalist Jonte Johansson and drummer Peter Ottoson opening their relatively quick 27-minute set with the title-track of 2017’s The Sunken Djinn (review here), I got the call from upstairs.

He’d thrown up. Not uncommon but not unheard of; generally he’s not much of a puker, but of course timing is anything. As the band nestled into the stomp of the verse in “The Sunken Djinn,” with Ohlsson and Johansson sharing vocal duties as they’ve done more and more effectively since making their debut with 2016’s Olde One Ascending (review here), I hit pause, grabbed some paper towels, and went to assess the damage.

It wasn’t so bad, and soon enough, I was back in front of the television, watching the multi-camera, pro-sound, pro-lighting cast of the trio playing “Grasping Time” off of 2019’s Grasping Time (review here) as I seemed to be doing so myself, but it goes to the ongoing discussion of how music and especially the experience of live music interacts with the rest of our lives in this pandemic era.

Having recently experienced a socially-distant live performance for direct comparison, I’ll say that the simple act of having to leave one’s house makes a huge difference.

I’ve never lived in a major city or particularly close to any relevant venues, so I’m fairly used to traveling for shows, but I would think if you were down the block from your favorite concert hall, the same would still apply. You have to pull yourself out of your own space to see a show (unless you own the venue, in which case, congratulations to you on living my dream) in a way that, watching a COVID-born stream, the whole point is to not.

When you’re at a show, you’re not thinking about doing the dishes. You’re not throwing pillowcases in the laundry. You’re not taking the fucking dog out for the 15th time because she has the world’s most expensive UTI and will invariably piss all over everything if you don’t. Even if you’re the type to text or engage social media while out and about — and by “type,” mostly at this point I think I mean “human” — you’re physically somewhere else.

Vokonis played five songs in this — again — fairly brief mini-gig, with “The Sunken Djinn” and “Grasping Time” giving way to “Antler Queen” and “I Hear the Siren,” before closing out with the quick energy burst of “Exiled”; the latter three tracks all from Grasping Time as well, which is unmistakably the band’s best work made public to-date, though as Ohlsson noted in April, their next offering is already well in progress.

I would imagine that, as different as it is for the audience of a stream, it’s no less a new world for the performers involved. Of course, in a shoot like this one there are other people in the room, working lights, the live mix and camera direction, but that’s hardly the same as a boozy crowd come to see a good show. Still, Ohlsson, Johansson and Ottoson were able to get into the spirit, headbanging a bit while issuing forth through a series of proggy turns and adrenaline-fueled hooks.

They have worked relatively quickly over the last several years to grow beyond the influences that sparked their earliest efforts — and that work has been successful — and even though Ottoson didn’t appear on Grasping Time, the dynamic between the trio came across as that of a band whose evolution was serving a greater aesthetic purpose. A band who, in stylistic terms, are going somewhere and exploring new ideas.

And so they are. “Exiled” capped with a quick “tack” from Ohlsson and it was over. My wife long since gone for her own nap, The Pecan upstairs, blowing one off but playing peacefully enough, I disconnected the stream, turned off the tv and sat for a minute to process. I’ve never seen Vokonis live — a planned trip to Esbjerg Fuzztival this year would’ve been the first time — and I came away from the stream feeling like my experience of it was afflicted by the rest of what was going on.

But here’s the thing with the stream: As the house had finally settled down — even the dog was in her crate — I happened to have another 27 minutes at my disposal. Not something that happens every day. So I just put it on, on my laptop this time, and watched Vokonis kill it once again so I didn’t come away feeling like I’d missed anything.

That’s something that, were I pulled away from an in-person show by some domestic consideration — it’s happened before; you get bad news, etc. — I wouldn’t have been able to do. Everything has its ups and downs. And in a time that seems perpetually to find new lows, I’ll take every 27 minutes of positivity I can get.

The stream is still up and you can see it below. Thanks for reading.

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The Sign Records website