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 »