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A Track-By-Track Guide To Void Of Vision’s ‘Hyperdaze (Redux)’, As Told By Vocalist Jack Bergin

Jack Rogers
Jack Rogers 5 March 2021 at 13.52

Ten punishing tracks. Ten outrageous features. One incredible celebration of modern heavy music.

Void Of Vision have just released a redux version of their 2019 album 'Hyperdaze' via UNFD.

Serving as a lockdown project for vocalist Jack Bergin, the record brings together some of the best and brightest voices and talents in heavy and alternative music to add their own unique flair to these ten songs. The result is not just a display of so many incredible vocal and musical abilities but also a celebration of the varied and volatile state of heavy music in 2021. 

We caught up with Jack to find out how the record came together and what it was that each guest brought to their own part...

“This track was the first of this whole project to come together. It’s weird because ‘Year Of The Rat’ was the first track that was written for the record way back when we wrote the album. It was super easy to put together because Jacob and Thornhill are really close friends with us. I knew that it was locked in from the get-go.

“It was all about the ethereal chorus in this one. We wanted to bring that real dreamy feel of what Thornhill pull off with their own choruses into our track, and he absolutely nailed it. It’s not the biggest change but it was so refreshing to be able to bring what makes him special into this.

"The video came from the idea of this new kid on the block, in Jacob, coming through and taking out the competition, in me. It was so easy to do because we’re such good chums and thought that it would be so funny for him to come, take me out and take my spot. That’s where the Fight Club vibe comes from.”

“I originally had the idea of having Boback on another track for quite a while. He might have originally been on ‘Splinter’ before we approached Kadeem. He’s another close friend of ours who we have been working and touring with for years. He does all of our merchandise for us, printing it up and sending it off, so I talk to him on a regular basis. I just envisioned him on whatever crushingly heavy bit of the record that I could, because for all of their career Justice Of The Damned have stood out as an insanely underrated band.

“I think a lot of this record was based around investing in your friends and trying to boost off each other. I don’t see that happening a lot anymore, in terms of people banding together and publically expressing their friendship. I really liked the idea of that when I was a kid, seeing my favourite bands getting on with each other in a public setting. It was the coolest shit ever.”

“I had never met or approached Lucas before in any aspect. I was just a huge fan of him and Holding Absence. He has such a raw and powerful voice. I had always had the band on my radar but I only truly delved in during lockdown and it was like, ‘Holy shit, this is such an exciting band’.

“He was just so readily involved and enthusiastic about the project. He would be sending me clips and videos and all this stuff, and I thought it was the fucking coolest thing. None of these people needed to be excited about the project. It could have just been work for them. But it showed how willing people were to be creative throughout lockdown.

“Lucas really took it upon himself to make this his own. I said that he could change up the melody if he wanted and put his own spin on it, and that’s exactly what he did. It was really cool to have that imprinted on it. To have such a connection and be so comfortable creating off the bat was so special.”

“Polaris are a band we have admired for so long. We toured together in Australia back in 2015 when we were both such young bands. I think it was a Buried In Verona tour that we were both on. We just became such good friends on that run because we had so much in common. So initially this was just another situation where I sent a text to a friend, but at first, it didn’t work out. So we jumped on to another guest but unfortunately, they had to pull out as well. We were about a week away from the deadline and I called Jamie back up and said, ‘Hey man, I’m going to come back at this again because we’re in need’. From there he was like, ‘Yes’ at the last minute.

“I think a lot of that comes from the respect levels within Polaris. Throughout their whole career, they have become so respected in Australia because those are the sorts of people they are. Each individual in that band is such a treasure and it’s not a surprise they have reached where they are just from their sheer positivity and motivation and honesty.

“For such a slow build song, it was so perfect for Jamie as well. I had their track ‘Masochist’ in mind where it’s his unique tone blending into this big build, and I wanted to recreate that on this tune. I wanted to show that he isn’t just a one-sided vocalist as well and he has the ability to nail every part he sings and screams just as much.”

“Jon was heavily involved with a lot of the electronic elements of the original record. We utilise him a lot within a producer role. The way he creates sounds is just unlike anyone else. There’s nothing digital, nothing copy and paste. It’s all analogue and all made from scratch. It’s so raw because of that.

“He came up with the original version of this track and then we asked him if he could make it even longer for this remix. He had lost all of the files though. So what he had to do was create it from scratch again and it resulted in something even rawer and stripped back. It’s like something you would hear in the club in the opening scene of Blade and we’re so stoked to have something like that to break up the record. I feel like I haven’t heard something like this just dropped in a heavy record like this in years.”

“So I would say that half the record is made with friends and peers, and then the second half was inspired by the Void Of Vision 2020 schedule that never came to be. With Crossfaith, we had a tour lined up with them which was super exciting for us because we were stoked to have even gained their attention. This was the first track that was made off that side of me approaching people.

“The last section of the song has such a Crossfaith feel to it. The chaotic tempo change and the electronics engulfing the track as it builds and builds, it was just a no-brainer. Ken nails that chaotic feeling so hard.”

“I find a lot of the most interesting vocal recording moments come from people who layer their vocals and go for the beefier sound rather than the one take rawness. Combining Garrett’s voice with mine on this track really beefed it up. That’s the type of vocalist he is. His presence in a song is so large and it builds on the impressive instrumentals that Silent Planet already has. That’s what this track always needed for me. I personally don’t have the power behind my voice to be able to give things that extra kick and Garrett served that so perfectly.

​“I don’t think that there will ever be a perfect record in the eyes of a creative, and it’s always shifting. But it’s such a weird and special experience to be able to revisit these songs with these vocalists and give them a new life two and a half years later. It’s really helped me think creatively in terms of what the next VOV music will sound like. My own vocal approach and the things that I have learned from these people is having such a huge effect.”

“This one was so sick. Ecca was another person we had met on a few festival runs in Australia in 2018. Working with her in every aspect of this track, from the music to the video, she has this powerful aura. It’s there in everything she does and it’s so cool to see. She has such a respectable input into everything she does, and the Australian and worldwide music scene is going to see that. She’s just such a gem and to be able to work in every single musical genre under the sun and pull it off is not something many people can say they can do. I just hope that she takes over the world.”

“So Boback was originally supposed to be on here, but that was before I thought of Kadeem. We were already in touch with Holding Absence’s management, who also works with Loathe, and we jumped on the opportunity. We were supposed to share the stage with them in 2020, and I’m so sad we weren’t able to. They had such an insane year and they are an incredible group of musicians.

“I had always pictured this sense of fear creeping in with this song. I took note of what the band was doing on their latest record and thought about how they may want to show off what their vocal range is, and I had noticed that Kadeem was jumping in on the cleans a lot more. So he made this track work in his way through that. His voice complements the instrumental so well and took a really dark approach to it. I feel as though ‘Splinter’ is the darkest song on the record and to have the record technically finish there is really cool.”

“Initially my idea for the entire record was a remix album and everything was going to be like Bring Me The Horizon’s ‘Suicide Season: Cut Up!’. This track was always one that I could never picture a vocalist on though, so I thought I’d keep the initial inspiration behind the project involved. So UNFD put us in touch with each other for this one and I just told him to go mad with it. We got to know each other’s inspirations and what we’re enjoying at the moment, and then two weeks later he sent through this monstrosity. I was just blown away by it. It just goes mad, and it has ended up being one of my favourites just because it’s such an interesting take from the original version. The mind boggles how he came up with it from just this tiny conversation we had. To finish the era with this song and this sound I feel is a really cool look.”


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