SPILL FEATURE: BROUGHT RIGHT BACK TO WHERE WE LEFT OFF – A CONVERSATION WITH JESSE MATTHEWSON OF KEN MODE

BROUGHT RIGHT BACK TO WHERE WE LEFT OFF

A CONVERSATION WITH JESSE MATTHEWSON OF KEN MODE

Ken Mode, the formidable death metal rock band, has unleashed their latest album, Void. We were privileged to engage in an enlightening conversation with the band’s frontman, Jesse Matthewson, diving deep into the album and the intricate creative journey that brought it to life.

Void came into being as the second installment following their earlier release, Null. The decision to split these albums was born from a surplus of creative abundance. Originally envisioning a single record, they found themselves inundated with an overwhelming wealth of material. By the time the album arrived, they had amassed nearly 75 minutes of exceptional music. Hence, the division.  Matthewson notes that “the albums naturally parted ways, “allowing Void to forge its unique sonic path without any overlapping ideas from Null.

Matthewson underscores the collaborative spirit that permeated Void, diverging from the more introspective and personal nature of Null.  The band, however, embraces this fortunate separation, reveling in the opportunity to consecutively release two albums, each bearing distinctive auditory imprints, and breathe life into songs that had long dwelled in their musical archives.

BUY/STREAM VOID VIA BANDCAMP

Void diverges significantly from its predecessor, bearing an undercurrent of profound melancholy expressed through a post-punk soundscape.  Matthewson remarks, “The album is a direct result of exploring uncharted territories left untouched in Null.” Ken Mode’s desire to chart a new course was clear: “If the riffs are singing to you, you follow them”, Matthewson asserts.

With each successive album, Matthewson and the band nurture their confidence and refine their execution, inching closer to their artistic objectives. Their sound is in perpetual evolution, and Void materialized as a testament to their artistic fulfillment with the tools at their disposal.  He emphasizes that evolving the sound for Void entailed immersing themselves in life experiences, observing the world’s shifting dynamics, staying attuned to contemporary developments, and maintaining a connective thread throughout. The goal was to remain unbound by the constraints of time and seek inspiration wherever it resonated most authentically.

It’s worth noting that Void was conceived concurrently with Null, albeit released afterward. Null epitomizes a raw, abrasive punk fervor, whereas Void leans into a goth-punk aesthetic. Ken Mode’s long-standing affinity for goth punk, evident in Scott’s bassline influences, takes center stage in Void. However, when Null was unveiled, it encapsulated the band’s prevailing ethos more accurately at the time. Void emerges as a more comfortable and mature record, inviting the band to groove and explore. The bassline also bears traces of a Neurosis bow-house influence, along with subtle nods to the sonic landscape of the ‘70s and ‘80s, reflecting the band’s collective mindset during the album’s creation.

If one were to inquire about fan favorites, Matthewson unequivocally points to their single “Painless.” It’s the track that stirred mosh pits to life at Ken Mode concerts, etching itself as a fan anthem. Among the band members, “These Wires” holds a special place due to its emotional depth and skillful use of dynamics. His personal favorite, “The Shrike,” is described as the quintessential Ken Mode rock song—an ideal choice to kickstart the album, and one he eagerly anticipates performing live.

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