Switzerland has long played a critical role in the development of the wretched noise we call black metal. But in recent years, a force has coalesced in the mountainous nation called the “Helvetic Underground Committee.” This includes more straightforward bands like the excellent Ungfell and Ateiggär, but also the mysterious entity known as Death. Void. Terror.
Words like “atmospheric” and “spacey” certainly come to mind while listening to the band, but somehow these terms fail to do them justice. There’s a wider, more existential mystery at play with this act, something they clearly preach within their muse of “The Great Monolith.” Here is how they put it:
The purpose of DVT is to serve as vessels for the Great Monolith. However, we do not think that the Great Monolith’s true essence can ever be fully grasped in its entirety. Thus, any representations of the Great Monolith by practitioners will never be absolutely pure, as they are necessarily indirect when channeled through practitioners. It is impossible to elaborate in concrete terms on what the Great Monolith is, yet through the audio and visual representations of DVT we are certain that the Great Monolith is. As such, To The Great Monolith II, is the involved practitioners’ second foray into approximating the Great Monolith through audio and visual representation and can be seen as an expansion upon To The Great Monolith I.” By listening to and experiencing the audio and visual images contained in To The Great Monolith II,” we believe that listeners can experience the Great Monolith for themselves, albeit without ever completely comprehending the Great Monolith’s essence, resulting in a futile pursuit. Whether this pursuit is also fruitless depends on the listener.
I can only assume the Great Monolith is the band’s representation of the essence of existence, or the energy that holds the universe together—in all its terrifying glory and indifference to us. In any case, Decibel is happy to premiere the band’s second album here today, streaming below:
