…And Out of the Void Came Love, the evocative 2023 double album from The Veils, emerges seven years after the band’s critically acclaimed Total Depravity (2016). Under the stewardship of Finn Andrews, this latest offering, released by Ba Da Bing Records, is a narrative sculpted through personal trials, mirroring the intensity of Andrews’ journey from a grievous wrist injury to the life-changing experience of fatherhood. On Tuesday, December 5, The Veils return to Bucharest for a very special solo show at Control Club.
..And Out of the Void Came Love is a pivotal chapter in The Veils’ discography, showcasing a significant evolution in thematic depth and musical complexity. This album departs from the brooding electronica of Total Depravity, embracing a more orchestral and narrative-driven approach. The Veils have continually expanded their musical horizons throughout their career, from the raw, energetic debut of The Runaway Found (2004) to the introspective and melodic Nux Vomica (2006) and the expansive Sun Gangs (2009). In this latest offering, the band intertwines their signature poetic lyricism with more mature compositions. The album’s exploration of existential themes and its lush, cinematic soundscapes signifies a band that has deepened its ability to convey profound emotional experiences. It is the kind of sonic cinema recognized by filmmakers like Paolo Sorrentino, Tim Burton, and David Lynch, who have all used the band’s music on their soundtracks.
..And Out of the Void Came Love commences with Time, a track that sets an orchestral tone reminiscent of Scott Walker’s emotive storytelling blended with the haunting vocal intensity found in Nick Cave’s baritone. This piece, alongside No Limit Of Stars and Epoch, delves into profound existential themes with acute depth and contemplation. No Limit Of Stars extends into contemplative indie rock realms, while Epoch exudes a visceral urgency, putting Andrews’ versatile vocal prowess on full display.
Contrastingly, Undertow and I’ve Been Waiting steer the album into more meditative waters. Undertow melds Andrews’ poignant lyricism with an atmospheric soundscape that echoes the emotional complexity of Tom Waits (“And I’m going deep / In thе great undertow / And I can’t escapе / From the great undertow”). I’ve Been Waiting, with its melancholic melody, contemplative depth and narrative capture a sense of longing and introspection (“I’ve been waiting alone for it / A long, lonely time / Yeah, I’ve been singing a song for it / A long, lonely time / But that’s alright”).
Love, a central theme of the album, is explored in tracks like Made From Love With Far To Go. The Latin-inspired guitar work and Andrews’ expressive vocals on this track parallel the passionate storytelling seen in Jeff Buckley or Eliot Smith. The narrative tapestry continues in The Pearl and Between The Ocean & The Storm. Each song is a unique exploration of love’s intricacies.
The album’s concluding track is Cradle Song, a lullaby-like composition contrasting the opening’s grandeur. With its tender and compassionate tone, this piece gradually swells into layers of intricate sound, embodying a journey from despair to hope—a theme consistent in The Veils’ discography yet presenting a newfound gentleness. (“May the fire be your friend and the sea rock you gently / May the moon light your way ’til the wind sets you free”).
…And Out of the Void Came Love marks an evolutionary journey from the shadowy depths of Total Depravity to an orchestral grandeur and introspective brilliance. Throughout, Finn Andrews’ resonant voice navigates life’s complexities, transforming tribulations into a montage of profound emotion in this sermon on the mount of soul-stirring melodies.
