Monolith – Dystopia

Jul9

It is very easy to have mixed feelings about Dystopia, the debut album from German doom rockers Monolith. On one hand it is so close to Black Sabbath in its sounding, with even vocalist/bassist Ralf Brummerloh offering a clone like Ozzy delivery as he unveils the individual narratives, that you struggle to pick out too much which makes a distinct and unique impact. Against that though, the release and songs are so magnetic and superbly presented that it is hard not to be compelled to indulge in its seventies seeded and sounding flight time and time again. It is an encounter which is sure to divide opinions but you suspect will persuade more than it disappoints.

Based in Bremen and formed in 2010, Monolith creates an atmospheric and sultry old school doom rock atmosphere which wears its heart and origins on every note and syllable expelled by the trio of guitarist Ron Osenbrück and drummer/backing vocalist Andre Dittmann alongside Brummerloh. Inspirations it is easy to assume include the likes of Electric Wizard and Pentagram but it is that Sabbath well where the heart and breath of the band’s first offering seems to be spawned from overall. With lumbering intensity and imposing predatory rhythms aligned to tightly binding grooves and searing psychedelic temptation, the predominantly live recorded Dystopia is a thick oppressive charm to easily enjoy, if probably not to be inspired by.

The album immediately engulfs ears with deep pulsating riffs, gripping rhythms, and a growling almost carnivorous bass sound, the latter persistently pleasing bait across the whole of the release. Won’t Come Down is an immediate Cover Artwork by Rocket & Wink and sizeable tempting to start things off, not a particularly dramatic offering against subsequent tracks but a clear hint of what is in store. The song strolls with a heavy yet eager gait, grooves and caustic sonic flames holding a creative grin as they smart against the senses and imagination. The vocals of Brummerloh as mentioned also show their influence boldly, whether by choice or coincidence, but still make an enjoyable colour in the sultry scenery of the song and its swagger fuelled, contagious chorus.

The strong start is matched and pushed a tad further by the following Cosmic Fairy. From a delicious throaty bass coaxing and a swiftly joining blaze of seventies washed acidic guitar, the track holds a steady and even stride framed by similarly gaited rhythms. Though the song does not have the infectious lure of its predecessor, it burns and sizzles with striking designs of sonic venture from Osenbrück to certainly grip attention and awaken a keen appetite for the unfurling proposition.

The next up Hole roughly caresses ears with an initial hot scrub of fuzz filtered guitar and a dark bass tone with an almost demonic tremolo resonance to its malevolence. Smouldering in breath and citric in flavour, the track winds around thoughts and emotions with potent melodic and hazy hues, easily recruiting intrigue and enjoyment. Again though there is no escaping the comparison to the Birmingham legends which dilutes any chance of passions raging before its undeniable skilled and appetising incitement, something applying across the whole of Dystopia to be honest.

The dark uncompromising title track slowly wraps its heated climate around senses next, it’s slowly imposing doom sourced evocation a thick engaging swamp of ebbing and flowing enticement which pleases without sparking real fire in the belly. Its successor Acid Rain employs similar intrusive textures amidst entwining spirals of sonic tempting and a great incendiary flame of funk infused adventure, to explore a successful but barely lingering path.

The album concludes with two highly satisfying encounters, firstly the infectious hip swinging Sleepless Eye. With its transfixing addictive lures and expressively charismatic melodic web of invention, it is the best track on the album; a richly enterprising treat of a song which is unafraid to glide through energetic festivity to suffocating doom crafted shadows, every twist lit by scorching guitar play. The closing Rainbow provides an epic journey of seismic intensity and rhythms within virulent psychedelic smog of imposing weight and heavy metal structures. It is a predator of a track, stalking and preying on the psyche whilst unleashing a contagion packed net of rapacious endeavour. Monolith saved the best encounters to the rear of the album, a closing packed with potential and more originality than shown before but still within well-trodden avenues.

There is no getting away from the core recognisable sound of Dystopia and its inspiration but even with that Monolith provides a strongly enjoyable and easy to return to release which has to be classed as a success.

Dystopia is available now via Finalgate Records @ http://finalgaterecords.bandcamp.com/

https://www.facebook.com/Monolith.doomrock

7.5/10

RingMaster 09/07/2014

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From Beneath Billows – Monolith

Dec3

FROM BENEATH BILLOWS 2

Providing one of the most invasive, dramatically evocative and intimidating flights heard this year, Monolith the new album from Norwegian metallers From Beneath Billows sucks senses and imagination into a compelling and intensive journey through consumptive atmospheres wrapping sinister and emotionally challenging textures and transfixing soundscapes. The album is a smothering yet vibrant immersion into dark kissed ambiences and intensely provocative realms, an encounter which exhausts and inspires, suffocates and invigorates whilst thrusting its creators into a new potent spotlight.

Hailing from Oslo and formed in 2005 by bassist Øyvind Daaland Lesjø, vocalist Lars Sundsbø, drummer Lars Petter Strand, alongside guitarists Lars Kristian Jagtøyen and Kristian Malterud Moen , the latter replaced in 2006 by Bjørnar Børja, From Beneath Billows made a decent impression with their excellent debut EP Evolve of 2007. It placed the band under strong and acclaimed attention with its intimate and forceful climate of isolation and look at the inner turmoil of man. Monolith takes that potent base to another level and creative depth and it is hard to imagine the band’s stature and recognition not growing the same way as the album spreads its exacting glory.

It is not a release to go into with a casual intent or expect to emerge from without scars and emotional questions, its riveting sonic FBB_Monolith_Cover narrative and absorbing melodic adventure a dangerously hued examination of senses and thoughts, but Monolith with its themes of ‘colonization, industrialization and the imminent gloom’ provides an epically stretched canvas of imaginative extremes merged into one intrusively rewarding journey. It is a masterful exploration which needs plenty of revisits to devour all of its stark yet compelling dark beauty and a firm patience to travel through the labour intensive depths but the rewards from Beneath Billows are enormous and seductive.

The release opens with One Death and the Kings, a track which alone exhausts and ignites senses and imagination. A singular guitar coaxing provides a minute plus of melancholic ambience before being joined by an equally maudlin bass and percussive understanding. There is a slow building intensity to the track in the background which takes its time to expand allowing stronger voices to come from the instruments first whilst the excellent tones of Sundsbø lies with rich expression and emotion across the canvas being played out. Ferocity does break out at times, vocally and in raw energy, the track expelling a dark sigh and fury as guitars and bass rage before seamlessly submerging into the almost restrictive calm. The track is a bewitching soar with a skirting storm which has its say to stir up the emotive balance of song and listener, an impressive start from which the album simply bulges to greater heights.

The following Verity also lays seeds of gentle and beauteous intent though again there is a waiting shadow to the invitation. A sludge bred breath ambles with weight and purpose along the core of the track, guitars raising an even paced stroll whilst rhythms with a slower gait prowl the ears and outskirts of the track. The intensity of the song is dark and intimidating with a fiery sonic coating whilst melodically it weaves a tantalising lure which only pulls thoughts deeper into the predacious landscape. The rhythm led diversion midway through is pure contagion, simple occasional guitar strokes allowing the lyrical commentary and rhythmic enticement to enslave any doubts before returning to weaving more of the sonic enchantment within the burning atmosphere.

Both Darkens the Will and Frontier increase the ascent of the release into the imagination and emotions, the first a melody drenched intensively emotive saunter which draws reflection and emotional shadows into its deeply evocative beauty and dramatic textures. The track is a mesmeric fusion of progressive rock and metal but much more besides, it like the whole album employing and exploring sounds rather than styles to investigate the release’s intent and limits. The second of the two continues the merger of alluring beauty and voracious intensity with the scenic colours and adventure of the song the primary route of the aural narrative.

The album is completed by the captivating Enlivened and Sworn and lastly the equally tempting fascination and dark rapaciousness of the title track, a striking conclusion to an equally stirring album. With all tracks around the ten minute mark, some far more, it is a labour of love at times journeying with Monolith especially as all songs seem to have a similar entrance, a peaceful seducing welcome which with other surface and structure similarities between tracks, makes concentrated focus and attention crucial to reap the treasures within. The effort is rewarded handsomely by From Beneath Billows though as they make their presence within progressive metal an immense and exciting encounter

http://www.frombeneathbillows.com/

8/10

RingMaster 03/12/2013

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T-Rex: Electric Warrior Deluxe Edition

Apr18

April 23^rd sees the release of multi format editions of Electric Warrior by T-Rex to help mark the year which is the 40^th Anniversary of Glam Rock. The album comes as a single CD, a deluxe edition 2 disc edition, or a triple CD Super Deluxe version. Marc Bolan and his band was without doubt the most important artist of the genre and age, but though most acclaim him sometimes his far reaching influence to bands and musician through the following years until now gets unrecognised or forgotten. Electric Warrior was and still is a mighty album, a release that twangs the heart and stirs up the emotions through classic track after another. The new release celebrates that fact, the band, he and the anniversary of the genre, it is an album that has touched and will continue to inspire musicians and fans alike, new or old.

One has to be honest when first hearing and approaching this package there was not a complete enthusiasm for it. Listening to it first before researching the full details left one feeling enthused yet confused initially, not so much on the content but why, who it was for, and was there an element of taking advantage of fans of the band. The more one looked into it an understanding and appreciation dawned and grew for each individual version.

The single CD version of the album is a must have for anyone who has a feeling for the band. The album topped the UK album charts twice, from December 18^th 1971 to January 29^th 1972 and again from February 5^th to February 19^th1972. It is bursting with songs we all know to heart and the disc is a refreshing reminder of the talent and wealth of quality the album gave. This Tony Visconti’s re-mastered version has the complete album plus four bonus tracks, the b-sides There Was A Time / Raw Ramp, King Of The Mountain Cometh and Woodland Rock, plus the brilliant single Hot Love. At around £6.99 this album is a definite must have.

The two disc Deluxe edition is where at first there was a reticence until realizing it is geared for existing fans with an already deep hearted love for the band, though there is much there for the passer by too. Alongside the single album the second disc offers up an array of for the most previously unreleased demos and out-takes. With tracks ranging from the Electric Warrior Poem (a rare us radio promo), through working versions of songs like Electric Boogie, Monolith, and Life’s A Gas, to home acoustic versions of Planet Queen and Get It On. There are twenty one tracks that for enthused fans will thrill and please immensely and after giving it a mass of deliberate attention it has to be said there is enough to interest and satisfy less ardent fans too such as the excellent studio out-take cover of the rockabilly classic Honey Don’t by Carl Perkins. At a cost of around £12.99 for the deluxe version it is a good price for a different look into Bolan and this music as well as having the original album with its treats.

The Super Deluxe on top of the two CDs contains a DVD consisting rare and unreleased TV performances and promos including the only two surviving Top of the Pops performances from the BBC archive, live performances of Life’s A Gas and Cosmic Dancer, plus promos for Jeepster and Get It On plus more. It also comes with a 32-page hardback book featuring a brand new essay from Bolan biographer Mark Paytress, a poster, a coaster and more all wrapped in a lavish box which is foil blocked and de-bossed. This will be around £30 and on reflection is still an agreeable amount for the substantial sounds and physical elements within.

There are also a special double LP vinyl version and digital exclusive editions available so something for your preference. As mentioned earlier first thoughts upon the initial introduction and listen to the release was mixed with a thought of exploitation of die-hard fans being involved but the package dispelled that after close focus, its contents and admittedly the pricing truly being a celebration of an icon and era.

To celebrate Record Shop Day on April 21^st there is also an especially produced very limited edition T-Rex box set of vinyl singles, Electric Sevens, containing four 7” singles pressed on heavy weight vinyl and featuring unique sleeves.

RingMaster 18/04/2012