Dragged Down a Dead End Path

Album Review of Dragged Down a Dead End Path by Call of the Void.

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Dragged Down a Dead End Path

Call of the Void

Dragged Down a Dead End Path by Call of the Void

Release Date: Mar 19, 2013
Record label: Relapse Records
Genre(s): Pop/Rock, Heavy Metal

72 Music Critic Score
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Dragged Down a Dead End Path - Very Good, Based on 3 Critics

Exclaim - 80
Based on rating 8/10
80

Colorado's Call of the Void knock it out of the park with debut LP Dragged Down a Dead End Path, recorded by Andy Patterson (Gaza, Iota, INVDRS) at the Boar's Nest in Salt Lake City, UT. Combining elements of grind, punk, sludge and hardcore into their dynamic and diverse sound, the quartet have unleashed ten songs of unrelenting ferocity. Gordon Koch's brilliant drum work is showcased throughout, beginning with "Failure," which features powerful rhythms and inhuman, speedy fills.

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Pitchfork - 76
Based on rating 7.6/10
76

In September 2011, grindcore band Call of the Void, then known as Ironhorse, played a show at the Sundown Saloon in their hometown of Boulder, Col., along with Denver's Speedwolf. To the University of Colorado students present at the bar to down cheap Old Style and play pool on their Californian parents' dime, they were a noisy interruption, a sideshow sanctioned by the bar yet seemingly uninvited by its patrons. Boulder in general is hostile to anything with distorted guitars at loud volume.

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PopMatters - 60
Based on rating 6/10
60

Extreme music has proliferated exponentially in the last five years or so. It used to be that bands who carried the standard of such “off-the-beaten-path” and cozily named musical styles (such as Crust, Grind and Power-violence) would have never seen any released material pressed in a format other than hand-numbered vinyl records or barely intelligible demo cassettes; all released through DIY pseudo-record labels, of course! But clearly, these once obscure splinter genres have made an ascent from their subterranean dwellings into a heightened state of accessibility. Perhaps sociologists can someday tie this newfound mass interest in ultra-violent, pummeling sound with the angry and war-like climate of the modern world.

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