Entranced by their menhir-gazing spiritualism to the point of tongue wagging, eyes-crossed possession Zürich, Switzerland-based experimental black/doom metal duo DEATH. VOID. TERROR. present a ~half hour window into their third-stage scrying in devotion to the megalith on this latest EP. An intermediate presage in rebirth ‘To the Great Monolith 2.5‘ escapes purely ritualized modus for better structured parameters enforced, providing a flexible spine to wail and weird upon throughout its three pieces. Built from pure expression unto an esoteric landscape of doom-paced, blackened atmospheric metal here surrealistic vocalization and droning sermon characterize this next-stage evolution of their collective fixation.

Death. Void. Terror. introduced themselves back in 2018 as an implied duo with anonymous membership beyond association with the greater Jünger Tumilon junta (Arkhaaik, Dahkma, et al.) Their style resembled black ambient, drone, and atmospheric black metal on their first LP (‘To the Great Monolith‘, 2018) an ambitious set of two longform pieces which appeared to be improvised sessions. A black vacuum for the air in the cavernous space inhabited the first version of the band’s sound was difficult to liken to any given artist as it was an amorphous grand experiment in both sound design and emergent performance. The follow-up LP (‘To the Great Monolith II‘, 2020) diverged by taking form, offering diction and increasing black metal expression amidst sleepier ambient post-black humming search. You’ll find that second album closer in poise and purpose to this new EP but six years later their level of characterization has changed most significantly, specifically the vocal affect/narrative involved.

Conjured as a cassette tape for its sole physical release ‘To the Great Monolith 2.5‘ appears as a signpost for what is to come, an introduction to Death. Void. Terror.‘s rebirth, a product of several years of metamorphic sleep. This third transformation of the project’s original ideal continues to integrate structure into their work while moving away from some of their black metal derived aspect citing the unearthly sonic lustre of Bölzer and the shadowy, irrational haunt of Urfaust as suggested guideposts per included literature. On paper you’d think they’d just resemble newer Arkhaaik but push your thoughts closer to something like ‘Empty Space Meditation‘ in terms of movement/pacing. This is probably most evident on the second track “(– – -) Srek Ysedon” where vocal expression is at its most over the top and the glowing surrealist atmospheric doom generated bears a sort of black, death, and sludge/doom tempered reach.

Beyond approximating whatever sub-genre or type of unreal spiritual expression might be occurring here on ‘To the Great Monolith 2.5’ the EP garners inequal interest between its two distinct halves. The first two tracks persist with a sound and style as described, a sort of ritualized event given to ranting eerie and a third track “Third Monolithic Manifest” acting as a dark ambient-backed screed which affords the listener some manner of elucidation of theme. For some listeners the only real value here will be split between opener “( — — ) Ametahna” and the aforementioned “(– – -) Srek Ysedon” as these are side-winding, droning pieces of rare atmospheric metal and by direct comparison the third piece will be off-putting, a dramatic reading from a distorted voice for nearly a full fifteen minutes or so. It is a feat I could only repeat a handful of times before becoming annoyed with the voice in my ear. On the other hand whatever lore you can make out from their ending diatribe is context, information which further themes their worship of the Great Monolith (detailing past and present, seemingly) and this adds some general legitimacy to their whole invocation.

As a cassette only experience aiming to prompt the third-stage evolution of Death. Void. Terror. ‘To the Great Monolith 2.5‘ successfully communicates what will be different in approach of the band’s inevitable third LP. Consider it a clear sign of things to come and/or a successful promo, a functional affair in this sense. As a listening experience the whole deal is marred by the informational dump of “Third Monolithic Manifest”, a droning and obscured non-song that doesn’t contrast well with the high quality spaced yet stalking gloom found on the other half of the tape. Both are vital to fleshing out the realm these folks inhabit nonetheless, a portal tomb into a new but still past-relevant sound from the group. A moderately high recommendation.

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