Dutch melodic hardcore band NAGUSAME return with “L’appel Du Vide,” the second single from their upcoming six-track EP I Want To Leave. Clocking in at just two and a half minutes, the track wastes no time establishing its intent, combining the urgency of melodic hardcore with the metallic edge of early-2000s metalcore. Sharp fast-picked riffs, snarling vocals, bouncing half-time breakdowns, and flashes of post-hardcore keep the song in constant motion, creating a compact but relentlessly aggressive statement.
Despite its short runtime, “L’appel Du Vide” packs plenty into its arrangement. Metallic guitar work drives the song forward before giving way to melodic passages and heavier rhythmic shifts, keeping the intensity moving rather than settling into one predictable pattern. There is a clear connection to the classic melodic hardcore and metalcore sound of the 2000s, making the track particularly appealing to listeners who grew up with the likes of SHAI HULUD, DARKEST HOUR, POISON THE WELL, COMEBACK KID, and MISERY SIGNALS.
The title comes from the French expression “l’appel du vide,” commonly translated as “the call of the void.” The phrase describes the strange and unsettling impulse some people experience when standing at the edge of a precipice — that sudden thought of jumping despite having no desire to do so. NAGUSAME transform that concept into a metaphor for the emptiness that can gradually surround everyday life: looking toward the future and seeing an endless road, looking back and questioning where everything went wrong, while the feeling of emptiness seems to close in from every direction.
As the second preview of I Want To Leave, “L’appel Du Vide” offers another glimpse into what NAGUSAME are preparing with their upcoming six-track release. The band turn a deeply unsettling idea into two and a half minutes of forward momentum, balancing melody, metallic aggression, hardcore urgency, and emotional weight. The void may be calling, but NAGUSAME are answering with distortion turned up and nowhere to run.
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