Dec 052019


In 2018 the mysterious Swiss collective Death. Void. Terror. released their first album, To the Great Monolith I, through Iron Bonehead Productions. It consisted of two tracks, identified by dashes rather than words, which together created a 41-minute out-of-body experience that was completely unnerving. As recounted in our interview of the band, their objective was to serve as vessels for what was bestowed upon them by an entity they called the Great Monolith, and to do that they sought to purge themselves of all traces of human thought and experience, to achieve the kind of “purity” that would make them receptive to what might become manifest through their performances.

Of that first album, our reviewer Grant Skelton wrote: “Not a trace of what could be called ‘humanity’ is left in this album…. Confronting To The Great Monolith I is to delve beneath pretense, beneath cultural normativity, beneath our waking personality…. To disengage from the world, to shut off the mind and allow it to wander, to blatantly refuse to hurry — these are necessarily a part of listening to Death. Void. Terror. Continue reading »

Jan 032019


(We present a 2018 year-end list by NCS contributor Grant Skelton, which consists of 15 miserable, mutilating, and mesmerizing titles, not all of which are metal.)

Salutations fellow metalheads! My choices this year were a bit more of a mixed bag than in previous years. Per our usual MO here at No Clean Singing, I tried to focus on bands whose albums seemed to slip into the proverbial cracks. I hope you find something you like here, and by all means leave me recommendations in the comments. Continue reading »

May 042018


(Yesterday we posted Grant Skelton’s very interesting review of the unusual debut album by Death. Void. Terror. (brought forth last month by Iron Bonehead Productions), and today we’re following that with his e-mail interview of this mysterious entity, which is also… interesting.)


How was Death. Void. Terror. conceived? Whether musical or otherwise, what are some of the inspirations behind the music?

Death. Void. Terror. is an entity conceived for a single purpose: to serve as a vessel for the Great Monolith, a true sole true finality that we as practitioners are subservient to. There are no other inspirations, musical or otherwise. When I say we are vessels for the Great Monolith, I mean that we convey what is bestowed upon us by it and express this unconsciously through our recordings. Continue reading »

May 032018


(In this post Grant Skelton reviews the debut album by the mysterious band Death. Void. Terror. And we will soon follow this review with his interview of the band [now posted here].)

I’m finding that my avarice for the bizarre is increasing. This year, I’ve been getting lost in clandestine spaces of the interweb. Browsing through many an arcane reliquary, my nocturnal work schedule has been bolstered by drone, dark ambient, neofolk, and even harsh noise. These kinds of soundscapes fit in with my waking hours. And despite (or perhaps because of) the fact that many artists in such genres make music that is, simply put, unpleasant to hear, I am enthralled and even soothed by it.

One such eccentric release is the debut album from Death. Void. Terror. When Iron Bonehead Productions released a sample of To The Great Monolith I, I was instantly interested. The band’s PR release indicated that the 2 tracks were not songs, yea not even compositions. Continue reading »