Monolithe – Okta Khora (Review)

This is the eighth album from French doom metallers Monolithe.

Monolithe can do no wrong in my humble opinion. Across many releases, (here, here, here, here, here, and here, for example), the band have consistently delivered the sort of quality, engrossing doom metal that just keeps drawing you back no matter how much time you give it. Okta Khora is no different in this regard.

Once again returning with a sufficiently deep concept, Monolithe have crafted an album full of weighty structures and musical intricacy. Combining progressive doom and death/doom, with some elements of funeral doom, these songs are well-composed examples of a band that knows exactly what they want to achieve, and have the skills and ability to do so.

Grandly atmospheric, with expressive synths and epic melodies, the music on Monolithe’s latest album is as enjoyable, satisfying, and effective as you would expect from a band of this calibre. Simplicity and complexity collide as the band fuse the two together into tracks that use parts from both to produce immersive, compelling songs. There are many highlights spread out across the album, and lots to discover as you explore it. The music is well diversified within the band’s style, and Okta Khora is a well-rounded and complete-sounding album.

All of the various instrumental weapons in the band’s armoury are deployed to good effect, but I particularly like some of the bass performances and the synths. The guitars, a notably important part of Monolithe’s sound, are also on point, (all three of them), but sometimes it’s the more background elements that truly make a song work. Everything here is well-played and delivered though, and Okta Khora certainly isn’t found lacking in the quality department.

As I say; Monolithe can do no wrong, and Okta Khor is a great addition to the band’s discography. Essential listening for any fan of progressive doom metal.