Search - De/Vision :: Void

Let's Put the Debate to Rest

Wayneman | California, USA | 11/30/2006

(4 out of 5 stars)

"This is a terrific album. It's not their best, 'Monosex' and 'Subkutan' deserve that distinction, but 'Void' is still more creative and enjoyable than most other synthpop albums one could purchase.



Purists don't like 'Void' because it experiments with guitars and drums. While I understand their position, I maintain that in order for a band to exist and thrive as long as De/Vision has, it needs to constantly create and "re-invent" itself. On 'Void', De/Vision does just that, beautifully.



It seems to be a natural part in the band's evolution that they made this album like they did. Songs like "I Regret" from 'Fairyland?', and "Strange Affection" from 'Monosex', had an edgier feel to them and were quite popular. Without claiming to know what was happening inside De/Vision's minds, I think the creation of 'Void' was an organic continuation of that style of song (meaning edgier, grittier).



I put off buying this album because of some negative reviews, but decided to give it a go after purchasing '6 Feet Underground.' For weeks, I could not get enough of 'Void.' It hooked me, and if I had any regrets about picking this album up, it was that I hadn't done it five years earlier.



The music is enchanting and Steffen's voice is tremendous. The singles, "Foreigner" and "Freedom" easily follow in the tradition of songs like "I Regret" and "Strange Affection", with their grit and drive. Unlike much synth music, De/Vision has a soul, and puts it on display with "Foreigner" and "Freedom."



Two other songs which should have been singles, and would have been if De/Vision had the exposure of a band like Depeche Mode, are "Ride On A Star" and "Anywhere." Wow! If you like fast, adrenaline-rushing tunes with a melody, those two songs are perfect, either in your car or in the club.



"Re-invent Yourself" is a trip which begins with a stalling rhythm and some excellent programing, only to evolve into a rocking tune with the chorus.



On par with the above-mentioned tracks, but of a slower, more thoughtful persuasion, is "Self-Deception", a psychological ballad with moments of sheer brilliance.



"Hope Won't Die" and "Give In" are similar in style to some of the mid- slow-tempo songs on the later album 'Two', while "A Prayer" and "Remember" show the more tender side of De/Vision's music.



The band took a big risk in re-creating "Blue Moon", a perennial fan-favorite, for this album. The Void-Style-Version is slowed down significantly from the dancier original, and is very atmospheric in its style and approach.



Personally, I am not a big fan of the original "Blue Moon" and think that De/Vision has far more songs which are better than that one. I'll probably take some heat for saying this, but I like the version on 'Void' better.



Buy this album now if you're worried about its "rockier" reputation, because you really are missing out, especially if you're already a fan of the band."

Intense and Compelling

The Blue Man | Oxford, OXON England | 09/28/2003

(4 out of 5 stars)

"De/Vision's follow up to Monosex was their last album as a trio. This is a very interesting album indeed. As with all previous albums, the firmament on which De/Vision's music is built is the combination of heavy bass and strong, clear emotionless vocals. However, on Void some new sub-styles emerge. There is a greater use of guitars, in particular, although this only occurs on some tracks. The third track, "Self Deception" is a good example, juxtaposing slow, reflective lyrics with a sparse guitar arrangement; this track, in a slightly different form, would not have been out of place on an album by Creed, Live or other groups associated with grunge rock.Usually, guitars are not helpful to musical quality. Yet, because they are rarely allowed to become the primary focus of the music on this album, they are actually merged very effectively when used to create intensity and sonic crescendos here. This is surprising indeed, and reflects all the more credit on De/Vision for being able to create new sounds which are by no means unfinished or merely experimental.Not all tracks use guitars, however. In particular, several tracks maintain the style very reminiscent of Depeche Mode which De/Vision have used so brilliantly in the past. On all tracks, the songwriting is sophisticated and production excellent.This is an album which is well worth having, and soars to great heights in many places. Each track is of at least average worth, and most are better than average; some are a great deal better than average and would be worthy of being included on Monosex. Perhaps the best way to appreciate the worth of Void is to listen to it immediately after listening to either of De/Vision's two subsequent albums: Two or Devolution. Although neither of those releases are poor, neither comes in any way close to attaining the deep grandeur of this album."

New direction, good but not as good as before?

Si Wooldridge | Chippenham, Wiltshire England | 04/24/2001

(4 out of 5 stars)

"The release of the Void album lead to a split in the core fanbase as to the direction being taken by the band, this was also followed by the loss of one of the trio (although no reasons were given for his decision to leave). The band also left, or got pushed from, their record label WEA after this.De/Vision had a reputation within the synth community for good synth music, Void introduced guitars (and quite heavy ones too) - a cardinal sin in the pure synth circles. The appearance of guitars also changed the musical dynamics as a more rock-oriented sound developed. In places this works really well, Ride On A Star and Foreigner are my favourite tracks. Other tracks, particularly the slower ones are nowhere near as good.I enjoy listening to this album but it is nowhere near as good as any of it's predecessors. The band have said that the next album will be a cross between Monosex (the album previous) and Void. If they take the right bits from each it could be a corker..."