Death. Void. Terror. To the Great Monolith

Death. Void. Terror. To the Great Monolith
Perhaps the most interesting element of music is the ambiguity, the fact that it is unseen, without immediate physical boundary. Sometimes we might forget this, but Death. Void. Terror. seem to have built their debut of hellish experimentation on this key facet. To the Great Monolith  abandons the tenets of song structure, and disregards any genre trappings or need to pay homage to anythng but the will of those in the act of the raw creation.
Appearing like a lost broadcast from out of the depths of Tartarus, the atmosphere is not only oppressive, but all consuming. What little percussion or sense of tempo there is feels like distant echoes, adding a strange weightlessness. Every sound is awash in thick echoes and effects, giving To the Great Monolith an archaic, forbidden veneer that this sound has travelled through black space and time to meet you.
In many ways, To the Great Monolith resembles the noise or power electronics genres, in that oftentimes the instruments themselves become indistinguishable, along with the odd howl or cry of unfettered mania. As with a band like Skaphe, there are only traces of the familiar amid an ocean of nebulousness.
Given this lawless format, there are moments of repetition, and some sections can seem overlong, but it manages to craft a truly unsettling vision that is worth experiencing. (Iron Bonehead)