You’ll have to forgive me, generally I’m not into writing about music that involves kingdoms, tombs and ancient ritualistic metal. But I do make the exception for a mere few bands like Exmortus and now Void, who have proven their chops with the kick ass album, Forbidden Morals. Their execution of tight, solidified metal has changed this stubborn metal heads mind. I’m loving every second of Forbidden Morals. Void have done something that only Exmortus have done before them. They have turned me into a fan because their instrumental intelligence whips me into a frenzy from the very first song on Forbidden Morals which just so happens to be their title song, after a small intro named A Curse which speaks of medieval vampiric curses from the Impaler himself. Forbidden Morals hits hard from the very first note. Thrash at its finest. Clearly, I have underestimated the balls out attitude of this thunderous album. My expectations, blown out of the water. Let me make this perfectly clear, I am writing this as I listen to the album for the very first time, so this is my immediate reaction, not a reflective one. Singer Jackson Davenport has a set of lungs on him. His vocal range is beyond impressive. Guitarists Gabe LeJuene and Chris Braune absolutely slay, turning their instruments into mere toys, moulding the intensity of the song. And the backbone, the rhythm section of Aaron Landry on Drums and Blake Adams spanking the bass like it’s been naughty, and the gift of a genuinely dynamic drummer Aaron Landry paves the way for what is yet to come. Fucking killer track guys, you have my full and undivided attention. Next up is a little ditty named Gateways of Stone. I’m expecting big things now. Gateways of Stone starts off where Forbidden Morals left off. Inducing a headbanging frenzy with the impressive and fast song. The solos in this song are sick. The mid-section takes the foot off the pedal ever so slightly for mere seconds. These guys are insanely tight, and they’ve got an abundance of my favourite thing, guitar solos. The end of the song dies down into the slower riff heard very briefly in the middle of the song which leads into the next song, their last single from Forbidden Morals, Judas Cradle. But before we get there, I have to say that so far, I am beyond impressed. And not just by one guy carrying the group, the entire fucking band are amazing. Consider me flabbergasted, and foaming at the mouth, ready for what is to come next. The pounding of the drums hit hard while the guitars take you to another world. Jackson Davenport really does have an extended vocal range and he uses every note he can hit like a punch to the gut. The bass breakdown is superb before the guitars and drums kick in to make an overall feeling of joy, for me at least. The rhythm section truly does a fantastic job of taking the song to its natural place in the medieval realm, but in the thrashiest way possible. I didn’t think it could be done but colour me impressed. Onto the next tune Nine Blood Moons. A fast song that starts slow and builds into a sprint from a mere walk. This is probably one of the stranger songs on the album thus far. The pace of the song is feverish after a slow beginning, with a mid-song breakdown slowing things down again. When I say slow, I just mean the tempo has slowed slightly, the music is still heavy as fuck which makes this sub 3-minute tune, although not quite as good as the others, a very worthy number 5 song and I’m excited for the last half of the album. Let’s see what the boys from Louisiana can cook up. Valeria is a beautiful acoustic arrangement played with such grace and heart, yet still manages to have that medieval feel to it. I’m constantly amazed by the musicians who can play an instrument and make the listener close their eyes and feel the music they are playing. Make a person feel like they’re somewhere else, in this case, another time. I admire that. Valeria is an instrumental dreamscape not to be missed. Apparition, man this song reminds me of the 80s so much. The wailing guitars, the relative simplicity of the riff making the song sound as if it was transported straight out of 1987. From the initial build-up to the towering vocals, even sneaky enough to throw in a small drum solo amongst the guitar solos and 80s riffage is cool to an old metalhead like me. I like it. It takes me back in time for a few minutes to the beginning of my journey as a metalhead ending with a sick solo, what’s not to like?