Umbra and The VOlcan Siege - LAte At NIght

Umbra and the Volcan Siege

Late at Night
self-released; 2025

By Matt Jensen

Umbra and the Volcan Siege are a Chicago band operating in their own weird little pocket of sound. They move somewhere between psych rock, experimental folk, and something darker and more theatrical. Their new album Late At Night doesn’t feel like it was built for comfort. It leans into mood and unease, often blurring the line between sincerity and surrealism in a way that kept me off balance in the best way.

The album opens with “Making the Moves,” and right away I was pulled in by the warping bass and heavy, deliberate drums. The vocals have this cathartic release to them. They are raw, a little distorted, and full of character. There is something messy and human in the delivery that immediately sets the tone.

“Looking at Ghosts” might be my favorite track on the album. It lives in that liminal space between Swans and Nick Cave. The song builds a haunting and meditative atmosphere that never fully resolves. The arrangement is full of subtle shifts and unexpected turns. I kept hearing new layers each time I listened.

“Johnny’s to Bad” is a total left turn. There is a strong 70s funk undercurrent, but it is warped by humor and unpredictability. It feels like something you might get if Black Midi collaborated with Parliament in a fever dream. The vocal effects are playful but not overdone, and there is a breakdown in the middle that sounds like The Doors got hijacked by Tom Waits and Beck on a bender.

“Late at Night,” which features The Anna Maze, leans fully into atmosphere. The female vocals add a spectral quality, and the guitar work gives off a subtle Pink Floyd vibe. There are whispered vocals and some intricate drum work that really elevate the mood. It feels like being pulled into someone else’s dream.

“Tell Me” was a standout for me. There is something Lynchian about it, like you have stumbled into the middle of a psychotropic lounge set that is slowly spiraling into something more menacing. The production here is especially sharp. The psychedelic elements expand without losing control.

“Around the Edges” veers into chaos. It feels like a trip that is starting to go sideways. The commanding, almost godlike voice that takes over is unsettling and strange. It booms over a tangle of disjointed instrumentation. It all somehow works, but it is hard to find a steady center to hold onto.

“Aura” strips the vocals away and focuses on groove. The guitar work is some of the strongest on the album. I loved how the melodies unfolded. It is hypnotic and grounded in rhythm, giving you a breather from the heavier textures that came before.

The closer, “Tribal Eyes,” is a slow-building piece that recalls post rock acts like Godspeed You! Black Emperor. It is sprawling and cinematic. It feels less like a song and more like a final descent into the world they have been constructing all along.

Late At Night is a dense, shadowy album that is not afraid to go off script. It is theatrical, often strange, and full of personality. If you are into artists who embrace the murk and make you sit with the weirdness, this is absolutely worth diving into. I already want to go back in.

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