Concocting the perfect metal-beginner waylayer album, Behold! The Monolith come back with an album that brings together disparate and formulaic applications of different metal and hard rock styles in a way that emphasizes changing moods and contrasting sections that should feel exciting because they are new to the listener in each moment. This approach was first popularized by Åkerfeldt Pink Frothy AIDS and has since been a bomb among both hipsters and distracted listeners that only look for a dose of “heaviness” in metal. For the latter all that suffices is a string of heavy-sounding and catchy moments that are capable of inducing head-banging. For the first, the hipsters, it is important that the song superficially parts away from the norm, thus differentiating itself as an insult to any sort of tradition, an affront to any implication of real meaning embedded in the song, a statement that meaning is only what they want it to be.
This year’s proposal, Architects of the Void, is mental cancer incarnate, delusional pretension combined with self-serving posturing ooze through each decision about the content and direction of the songs. We hear a doom metal riff opening, then we suddenly find ourselves in a full on Stoner groove only to be followed by a speed metal attack with tremolo-picking, a break for an acoustic fill that does not last more than 15 seconds only to by hit by uneventual melodic heavy metal guitar lines, only to come back by Stoner riff patterns propelling the Korn-like vocals. Not only is the juxtaposition of styles comical but besides a little attention to smoothness in tempo and dynamics, there is evidence anywhere that the band had any intention whatsoever of giving these songs a central theme. Any riff in any song could be easily interchangeable with almost any other riff from any other song. It would make little difference, if any.
The poser-like mental weakness displayed by Behold! The Monolith Architects of the Void goes beyond the mere mental weakness that drives them into mediocrity and complacency. With the attitude of post-rock/metal and the technical approach of hard rock, this band represents the monster that metal’s assimilation into the mainstream represents. A product suitable for the pleasure of subpar intelligence in music, it is not only recommended that this album is avoided but its copies are actively searched for and destroyed. The possibility that this project takes a place in name besides truly artful underground projects is an insult to them and a building-up of distracting fodder. Of course, the truly discerning out there will know to avoid this screamo-spirited music full of SJW teenage rage, but there are those out there who are still digging their way through metal, those who are still learning. For the sake of metal itself, this album must make it into the lists of worst insults to the genre.
PS. The band is from Los Angeles, California. Should this have been a clue?5 Comments