From Bandcamp, “It has been three years since the release of VOLA's defining album, “Witness.” Talking about their evolution, Janzi says. "We have had the time to internalize “Witness” and let its aftermath sink in, which has shaped how we approached “Friend of a Phantom.” Our personal tastes have changed, the way we approach our instruments and songwriting has changed, our lives have changed, time has passed, and adventures have been had. Whatever piece of melancholy that “Witness” had, has just grown and become a central part of this new album. I feel that VOLA has grown and reached a new moment in its life, maturing."

“Cannibal” features the vocals fry of Anders Fridén (IN FLAMES), in the chorus and the second verse, and he still has one of the best growling voices out there. The song has hardened, angled structures on the bottom end, with melodies that shoot high above the clouds. “Break My Lying Tongue” has heavy, Djent elements, as well as Asgers’ smooth vocal delivery. The interplay between bass notes, keyboards, and vocals in the verses is the bulk of the melody, and is only bested by the weighted and aggression in the chorus. “We Will Not Disband” is poignant and introspective, and the wondrous melodies are carried forward by the heavy hand of a giant.  This is such a catchy song, and you can’t help get caught up with its many offerings and rewards.

“Glass Mannequin” is as fragile as the title sounds, and VOLA does these types of songs as well as they do ardent ones. They have a way with melody that very few artists embrace in the manner that they do. It has a haunting and melancholic depth—one that speaks to the delicate interplay between what we show to the world and what lies beneath the surface, unseen and vulnerable. “Bleed Out” has darker tones, and ominous feelings…the kind that appear as warning goosebumps on your arm. Even within the darkness however, there is light, in the form of smooth vocal harmonies in the chorus. There is also a well-rounded balance between keyboards and guitars. “Paper Wolf” was one of the early singles released, and it has a combination of psychedelic keyboards, weighted and super Djenty riffs, and catchy melodies, all mixed into a soup that is very filling.

“I Don’t Know How We Got There” is more tender in nature. Nicolai’s bass notes and Adam’s drums remind you that this is Metal, but the song takes a few steps back into the sublime. It’s quite charming.  “Hollow Kid” has an ardent edge with a heavy, cadenced riff and thick bass notes. Still, the song remains catchy. The vocals are sung without much emotion first, giving way to lively vocals later, and the contrast makes them that much more memorable. “Tray” brings the album to a close, and it brings together the weight of a low laying fog on your soul and sunbeams shining through them and breaking them up. In many ways, it embodies the very thing that makes this band so special.

At its core, the album finds a way to bridge the gap between the progressive intensity of Djent and the captivating accessibility of melody, making it a journey where technical prowess meets emotional resonance. The production captures tension beautifully, allowing the guitars to bite and groove while the melodies remain airy, almost ethereal, creating a soundscape that feels textured and dimensional. This combination of heaviness and harmony serves as a perfect example of how force and finesse, in the right hands, can elevate metal into an art form that speaks as much to the heart as it does to the head.