Monolord

Monolord Interview

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  1. What inspired the name of the band, and what are your influences?

The name comes from a guy we know (Christer from Mammoth Storm). He got his hearing damaged on one ear, therefore he can only hear in Mono. AND he is freaking huge so that is why he is the Monolord.

 

  1. What was the process behind recording Rust?

The process was more or less the same as the other albums. I write most of the stuff in my home studio and record it. After that we meet up at the rehearsal space and try it out and arrange it. When we have enough good songs we decide to record it. We do everything ourselves. Recording, mixing and mastering.

Some of the songs like Forgotten Lands and At Niceae are written at the time from where we wrote Vænir but didn’t fit there.

 

  1. What is the song Dear Lucifer about?

It is about saying good bye to a dear friend. It is still fun to provoke people with an inverted cross or an image of a burning church but if you acknowledge one god, you acknowledge the opposing side of that god too. And that we do not. There are no gods.

 

  1. What plans do you have for the future?

More touring. Some headline tours and hopefully some direct support tours for bigger bands. If we get material for a new record we will work on that too. The future is now. No rest for us.

 

 

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Monolord

Monolord-Rust. Album review.

Monolord formed in 2013, quickly recording their 2xLP debut Empress Rising, which RidingEasy Records released in April 1st, 2014. The second album, Vænir, followed April 28th, 2015. The 2-song Lord of Suffering / Die in Haze EP was issued in late 2016 amid the band’s relentless touring schedule in order to tide fans over until the next full length. That next full length has arrived in the form of Rust.

The opening track Where Death Meets The Sea has a sludgy Black Sabbath inspired feeling to it with haunting vocals provided by singer Thomas Jaeger. Dear Lucifer follows with a sludgy, slow ominous riff and rhythm that really invokes the depths of hell, with haunting and eerie vocals to it, this is sure to become a doom classic. Rust, the title track of the record opens with an Organ riff with choral vocals, before changing into a dragging and Sabbath style riff complete with haunting and creepy vocals and a middle section that is pure heaviness, and a soaring solo. This is definitely a stand out.

Wormland is next, starting with a slow classic riff, that sends chills up the listener’s arm, a harmonised lead part adds further to the ethereal sound of the track, and the violin adds a unique mix to it as well. Forgotten Lands at twelve and a half minutes long, is one of the longest songs on the album. Distorted feedback opens the song, before it moves into solid doom laden riffage. The lyrics invoke the feeling of desperation and desperate thought that Jaeger clearly wants to get across, there is a sense that something is coming, but what it is, is not quite clear. A brilliant song, and one sure to catch the attention of concern goers. Atniceae, is the final track on the record, and at 15 minutes long it is the longest song. Delayed guitar greets the listener as the song starts, epic verse riffs come in, knocking you for a solid one two, followed by what one might assume to be a classical riff, before providing thought provoking lyrics well suited to the haunted complexion of Jaeger’s voice. The acoustic outro suites the song well and provides a brilliant close to the album.

With Rust, Monolord have hit a winning formula. They’ve brought doom and heavy metal into the 2010s and made it truly accessible, but without compromising on the haunting melodies and heavy bone shaking riffs that make this sort of music the best sort of music around. A solid ten, and an album you should definitely go out and buy.