The atmosphere began to charge with new breath. Intermission had ended, and the audience inhaled towards the stage with anticipation. Eyes searched amidst the fog for movement, and every inch of the stage’s edge was filled with white-knuckled hands.
Touring on the heels of the release of their sixth full studio album, Monolord is on a trek that will help determine the enduring reception of Neverending. Paving the way for Monolord, the opening act is Mizmor, a figurehead of blackened doom. Five years since Monolord’s last LP, fans have not only waited, but have witnessed an evolutionary shift in the band’s style. With Sylvia Massy engineering and producing the album, fans are listening to something that, at its core, is still Monolord, but carries a redefined sound. Monolord has returned, but who are they?
Tonight, we’re at Nova PDX in Portland, Oregon. With this being the seventh show of the tour, Monolord has likely hit their stride with plenty of energy to expend. Additionally, it is the homecoming show for Mizmor–a uniquely spirited crowd can be expected throughout, with a smooth cadence of excitement spanning both acts. While no two shows are the same, tonight is arguably one of the best opportunities to experience the pure essence of what Monolord has become.
Portland will be the proving grounds.
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Doors opened not unlike other shows of this caliber. A handful of ticketholders eager to grab merch, hit the venue bar without competition, or secure a spot center-stage trickled through the security and up the stairs into the multi-floored and 119-year-old venue. Over the next hour, the floor gradually grew into an oscillating mass.
Just after 8:00 PM, the lights dimmed, and the venue’s music tapered to allow just the quiet murmuring of the crowd to break the silence. Calmly and without words, Mizmor entered from stage right, and musicians quietly settled into their places. Instruments were collected, tuning pegs were tested, and sticks came to a rest-at-ready. With a nod from frontman A.L.N., the venue softly came to life.
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Mizmor was formed by A.L.N. in 2012 as a medium for self-expression amidst a crisis of faith. With a style that flows against the grain, Mizmor shapes a haunting wave of careful orchestration. The wave draws back just long enough to allow the listener to catch a breath before being washed over again–but something about Mizmor’s message and originality creates captivation, a desire to return. As Mizmor performed, the crowd responded with a mix of emotions. Some let their bodies absorb the music, animating their bones. Many simply bore witness to the performance, appreciating the poetic composition.
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As A.L.N. and his live ensemble spooled cables and ferried equipment off-stage, the crowd relaxed and dissipated slightly as many took to the bar and restrooms. Smiles grew on faces as listeners beamed in conversation. Some were high on the performance, others eager for what was next. Mizmor, a contrasting but complementary project to Monolord, was a potent shift from the headliner’s range.
Monolord’s tours have been opened in recent history with Firebreather, Blackwater Holylight, Dorthia Cottrell, and Red Fang. These bands capture a variety of sub-genres, including metallic edges in sludge, shoegaze, folk, and hard-rock. All else being equal, Mizmor brings to the list a severe and blackened edge. Following the West Coast tour, Monolord will pair with Khemmis, a heroic and melodic shift from the stifling yet purgative impact of Mizmor. While it may be easy to argue that Monolord pairs well with all metal genres, it is more productive to highlight the effect. Mizmor’s act emotionally dismantled the listener and prepared them to fully embrace what would come next. Were Monolord to have a parallel sound leading up to their own, the listener would become deaf to the details due to the constant flow. Mizmor had succeeded in interrupting this.
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A light appeared from the darkness as Thomas Jäger, Mika Häkki, Esben Willems, and Per Wiberg humbly walked to their instruments on the modest stage. Without fanfare or public address, the energy of the room quietly grew with the instrumental build of Neverending’s opening track, “Iodine”. With the kick came a sudden catharsis of years of waiting – but the catharsis wasn’t from seeing the band, but from the opportunity to seek proof of life.
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Including “Iodine”, Monolord played an 11-song setlist capturing a diverse collection spanning 12 years of metamorphosis, with Vænir being the only LP not represented. Prudently, the largest representation of songs hail from the band’s latest release, demonstrating what the essence of what the band has become. The performance shouldered the plodding and weighty rhythm of “Your Bastard,” immediately followed by the foreboding and resolute cadence of “Oozing Wound.” “Empress Rising” reminded the enthralled congregation of the Monolord that arrested their hearts, only to be succeeded by “The Last Leaf” to remind them of the band’s proven flexibility. At the show’s conclusion, Monolord’s heartbeat resounded through the unyielding pulse of “Inside a Collider.”
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With Monolord’s exit, the cheering faded, and the crowd slowly dissolved. Speakers were quiet, and the floor no longer vibrated, but eyes were bright with liberation. The release of a divergent album may be a sign that Monolord has changed, but it is an assurance that the Swedish doom band is growing. Perhaps more importantly, their performance is a sign of the band’s self-awareness. Nearly their entire discography was represented at Nova PDX, with careful attention to cult classics like “The Last Leaf” and “Rust,” while capturing new releases without feeling overbearing. This is the proof of life fans have been waiting for. Neverending is a bridge.
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Neverending is available now via Relapse Records
