Heavy on atmosphere, and weighing in at a hefty 6 minutes plus, the schizophrenic Voices of Dawn starts off with ruminative synths that are bent and manipulated as if by a latter-day Vangelis. It features modulating guitar notes and softly-sung vocals that are treated with an otherworldly flange/phaser effect.
From the distant mountains, ethnic drums (possibly Costa Rican, like the musicians), laced in reverb, tap in, and all of these ‘voices of dawn’ (see what I did there?) travel from left to right, and swirl around in a production that makes full use of stereo. Sonically, each voice has had a place carved out for it in the mix – great separation, and a gratifying listening experience.
It’s at the half-way point that the other personality makes its presence felt!
The cross-stick and pitch-bent synths give way to a prog-fest of muscular guitars and full kit with open hi-hats and fully-fledged tom fills. And suddenly a Metallica-like lead vocal kicks in. The groove remains laid back, but the gruff vocal is surging and searching, and the mysticism generated in the first 2 minutes somehow remains intact.
The laid-back, confident shredding sounds familiar (in a good way), like Dave Gilmour may’ve popped in for a quick session, on loan from Floyd’s 1979 behemoth, The Wall. In my book, that’s extremely impressive.
Utterly unhurried, and all the better for it, Voice of Dawn looks like it’s done at around 6 minutes, then a slightly tremulous yet controlled tender vocal comes in right at the death, before being swept away in a shocking sweep of white noise that takes us through to the proper end.
Worth your full attention, for its full run time. Nicely done!