The Monolith by Hades Descent is a Symphonic Death/Black Metal concept album with a huge cinematic scope and a narrative to match.
In fact, instead of trying to explain the story to you – as imma bound too fuck it up – here’s what the press release says:
“The narrative is set centuries into a dystopian future, on a dying earth, where mankind has embraced cybernetics in pursuit of perpetual enhancement, until humans no longer know where they end and the machine begins.
One such being, after decades of work, harnesses the power to create a one-time portal to the past, where he hopes to become less than he is today, to shed his machine self and rediscover his human origins in peace. He cannot be free of advanced technology in his own timeline, but in the past his cybernetic parts fall away, leaving only the organic. He is willing to trade the near-immortality of his dystopian existence for the mortal experience of living amongst nature but on arrival he swears to uncover the decisions that doomed humanity, and correct them to avert the terrible future he left behind.”
Which isn’t even the half of it, as the blurb then goes onto explain the entire plot as it goes along, but this is a spoiler free zone – plus if I put it in here this review would be as long as War and Peace – but suffice to say it is a cracking yarn, and one that I urge you all too listen to just for the Dystopian future and mental twists and turns it takes along the way.
However, a good story alone does not make a great concept album, for that you need the music too match and on that front Hades Descent delivers ten-fold.
This is an album as heavy as it is cinematic and you do find yourself forgetting that you’re listening to a record and instead feel as if you’re watching a movie. Now, I’m not sure of that was the effect they were going for, but is sure the effect it had on me.
This is down to the core members of Hades Descent: guitarist/producer Hades and vocalist D.M.
They marry the concept of symphonic and cinematic brilliantly, with pounding drums, unrelenting bass, crushing guitars, and witch possessed vocals melding perfectly with orchestral flows, dancing string sections, and symphonic passages that wouldn’t seem out pf place in a Hollywood blockbuster.
They are not alone on this journey wither, as they are joined by Karl Sanders (Nile), Brian Kingsland (Nile, Imperishable), and Björn Strid (Soilwork, The Night Flight Orchestra), who all lend their skills to various tracks on The Monolith, making an already huge album blow up to the size of Fatty Arbuckle.
And if I have to explain that reference to you then I’m far too old to be doing this shit. Go look it up
The Monolith works on so many different levels. that it’s frighteningly impressive. It’s a great concept album, it’s a great Symphonic Death/Black Metal album, and it’s a great cinematic experience that you can get by just sticking on your headphones, closing your eyes, and watching the scenes unfold in the darkness.
The Monolith is a bloody good record with a bloody good story. What more could you possibly want?
The Monolith is available September 4th via Atlas Creative.
CHOICE CUT: The Monolith
RATING: 4 OUT OF 5
RATING SYSTEM:
- 0: Fucking Shit
- 1: Shit
- 2: Not Bad Shit
- 3: Pretty Good Shit
- 4: Amazing Fucking Shit
- 5: The Best Shit You Will Ever Hear
PRESS SOURCE: Rob Town/Stampede Press.
PRESS SOURCE: Cátia C./Against PR.
