Call Of The Void by LumeriansRelease date: June 22, 2018
Label: Fuzz Club
It’s been four years since Lumerians graced our ears with their brand of transcendental psych, during which time, a lot has happened within the genre. For the Oakland band its been period of sadness and emotion too, with the loss of long time friend and collaborator Barrett Clark, and we find new album Call Of The Void dedicated to him. We also find a bunch of musicians eager to get back to business, on their now third album.
Signalling their intent with opening track ‘Fuck All Y’all’, Lumerians display a leaner sound on this album as they head straight for the tripped out trance dub. A throbbing beast of a track, it’s siren call sounds like the landing of the spacecraft from Close Encounters Of The Third Kind, although this time the familiar motif is turned into something much more sinister.
It’s not until second track ‘Silver Trash’ that we get to hear the new Lumerians in full flow. An ode to camping set to a pounding New Order disco beat, it’s robotic rhythm plays over some lush synths which glisten along as the bass pulls you ever onwards. It’s a majestic return, leaving us gasping for further treats on the album course.
‘Ghost’ is more mysterious, and cloaked in an air of cold synths. The bass takes centre-stage here as it leaves the dance-floor for a more slinky curve through a track which evades description as its little musical motifs continue to evolve. ‘Clock Spell’ drops the ante even further, with it’s singular alarm call of a note leading us ever on into a mesmeric underground of noise. It’s a sharp turn from the glorious disco of ‘Silver Trash’ but also shows how unafraid Lumerians are to take you on their own weird, forbidding journey.
Lumerians have certainly done their homework on the great post-punk synth acts of the late 70’s and early 80’s with not just the ghost of New order shining through on the more upbeat moments but also that of mid period Depeche Mode, and also Suicide. The burst of ‘Masters’ could almost be a bastard son of Dave Gahan and co meeting the coldness of Suicide, with its impervious lyrics seeking a darker edge once again within the music. It’s almost as if Lumerians want to see how far down the rabbit hole of darkness they can lead us.
After the bleak riot of ‘Masters’ there is some light relief with the melodic charge of ‘Signal’ although after its jaunty opening it does sink into an instrumental malaise, acting almost as an intermission in the end. It’s the only forgettable part of the album though, and does serve the purpose of leading us directly back to the dance-floor with the ecstatic ‘Space Curse’. We’ve been down, and now we’re being sent straight back up again.
Wrapping the album up with the marching ‘Fictional’, whilst the album never quite touches the heights it aims for, there is enough here to raise it well above the norm. There are moments of absolute wonder, and when Lumerians get in full throttle, or when they plumb the depths, their really is no-one quite like them. There’s a huge emotional feel about this album, made all the more remarkable by the coldness of the instruments, and it is this that makes the album such an intense listen. You get the feeling that Lumerians have stepped up a gear too, and Call Of The Void is certainly their most satisfying piece of work so far. Let’s hope they don’t leave it another four years until we hear some more music, as they seem to be heading in a rather exciting direction.