Like All Before You is a restless, ten-track record that makes its strongest case through friction: synths, vocal processing and abrupt shifts of style keep pressing against Julian Casablancas’ cryptic, idea-heavy writing. That makes the album intriguing, but not always easy to inhabit as a complete sequence. Its collisions can feel purposeful; at other moments, the songs seem to retreat just as their ideas come into focus.
The Voidz released their third studio album, Like All Before You, digitally on September 20, 2024, through Cult Records. It follows 2018’s Virtue. Apple Music classifies it as Alternative and lists ten songs with a rounded total duration of 42 minutes. The sequence moves from the short “Overture” to “Walk Off (Outro),” framing the record as a compact album-length passage rather than a loose collection of singles.
Do the style shifts make a coherent album?
The album’s central tension is between its changing sonic surfaces and the sense of a single band moving through them. Synth textures, altered vocals and changes in musical character give the songs distinct profiles, but they also make continuity something the listener has to discover rather than take for granted. The shifts are most rewarding when they sharpen a song’s mood or make its turn feel consequential. They are less persuasive when a new texture arrives without developing the idea that preceded it.
That uncertainty fits the artistic ambition Casablancas described in a September 2024 NME interview: carrying sounds from obscure musical corners toward the mainstream. NME also reported his description of the Voidz as his “prison jazz” gang. Those phrases suggest a useful way into the record—not as a bid for smoothness, but as music willing to make its strangeness audible. The album’s success depends on whether that strangeness creates momentum, not simply on how many directions it can gesture toward.
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How do the lyrics and concepts land?
Casablancas’ writing tends toward coded ideas and suggestive phrases rather than plain narrative. That opacity can give the songs an unsettled atmosphere: a line may feel less like an explanation than another sound in the arrangement. On repeat listens, that approach can invite attention to the friction between what the words seem to imply and what the music is doing.
It can also become a distraction. Pitchfork’s Arielle Gordon heard the album as a search for deeper meaning, but argued that its references and retreats from its concepts grow wearing. That is a critical judgment, not a universal verdict; it identifies the question the record asks most clearly. Do the lyrics make the songs feel richer and stranger, or do they keep withholding enough that the ideas never gather force? For this listener, the answer varies across the album, which is part of its fascination and part of its unevenness.
Rank #2
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Does the track sequence work as an album?
The announced sequence gives the record a visible frame: “Overture” opens, while “Walk Off (Outro)” closes. Between them, the ten tracks move through “Square Wave,” “Prophecy of The Dragon,” “7 Horses,” “Spectral Analysis,” “Flexorcist,” “Perseverance–1C2S,” “All The Same,” and “When Will the Time of These Bastards End.” The framing gestures toward a journey, but a beginning and an ending alone cannot make every transition feel earned.
AllMusic’s review describes the listening experience as elusive and muffled, with an anticlimactic effect; it also notes that nearly half the songs had appeared before the album’s release. That rollout can change how the sequence feels: familiar tracks may arrive less like discoveries and more like pieces being gathered into a whole. The album is best judged by whether those pieces gain meaning in their new order, rather than by expecting the sequence to erase their earlier lives.
What the album’s credits and release details establish
Pre-release reporting by Pitchfork names Ivan Wayman, Justin Raisen and Sadpony, also named as Jeremiah Raisen, among the album’s producers. That reporting does not assign individual tracks to particular producers, so the credits support a broad account of the album’s production contributors, not track-by-track attribution.
Cult Records announced an October 18, 2024 physical release, and retailer listings include CD and LP editions. The digital release date, label and track sequence are confirmed by the label announcement and Apple Music listing. Apple Music gives the album a rounded duration of 42 minutes; retail track timings add to about 42 minutes and 51 seconds, a difference consistent with rounded catalog totals rather than evidence of a substantive alternate version.
Rank #4
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Verdict: a compelling but uneven set of collisions
Like All Before You is most rewarding when its volatile arrangements and opaque writing intensify one another. The record’s willingness to change shape gives it character, while its evasions can keep that character from resolving into a consistently satisfying album arc. Published critics have emphasized different sides of that balance: Gordon’s concern about conceptual frustration and AllMusic’s sense of elusiveness are useful counterweights to hearing the shifts as adventurous in themselves.
For listeners drawn to the Voidz’ more oblique, synthetic side, the album offers plenty to revisit. Those looking for clear lyrical meanings or a steadily building sequence may find that its mysteries sometimes feel like dead ends. Its unevenness is real, but so is the appeal of a record that treats coherence as a challenge rather than a default.
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