Monolithe
Biography
After more than two decades of existence, ten studio albums, a live album and two mini-albums, the longevity and now respectable discography of Monolithe are the first witnesses of the intense activity of this band that has become a veteran of the international underground Doom Metal scene.
As a cult and iconoclastic formation, Monolithe has always offered very personal music in many respects. After a series of four albums composed of a single, slow, hypnotic and long Extreme Doom song – “The Great Clockmaker” saga, composed of the “Monolithe I” (2003), “Monolithe II” (2005), “Monolithe III” (2012) and “Monolithe IV” (2013) albums, the band then systematically provided compositions with rigorously equivalent durations: fifteen-minute pieces on “Epsilon Auriga”e (2015) and “Zeta Reticuli” (2016), seven minutes on “Nebula Septem” (2018) and four and eight minutes on “Okta Khora” (2020), albums that are chaptering “The Tame Stars” saga which, behind their eerie formalism are, above all, demanding, innovative and immersive Doom Metal works.
The release of “Kosmodrom” (2022) sees the French getting an interest in, beyond the cosmic immensity and the grandiose stories of interstellar science fiction, the human being and his fascination for discovery, throughout the history of the space race, seen from the Soviet side.
The tenth album, Black Hole District, returns to a more formal SF and questions artificial intelligence and the accessibility of machine consciousness, while paying homage to cult movies such as Blade Runner mainly, notably through the Tech-Noir aesthetic and the use of the famous CS-80 synthesizer which Vangelis used to compose the score.