Monolord’s ‘Neverending’ Is Their Catchiest Doom Statement Yet (ALBUM REVIEW)

Monolord’s sixth album, Neverending, continues the Swedish doom metal band’s sonic onslaught of lumbering grooves, repetitive riffing, macabre atmosphere, and layered textures. Guitarist Thomas Jäger tears through crunching, down-tuned riffs while singing in a soft drone that sounds like his voice is coming from the next room. Bassist Mika Häkki and drummer Esben Willems lay down a punishing rhythm section to back the layered guitars.

Though their sound is instantly recognizable, with the long, crawling rhythms and the low-slung riffs down-tuned three steps, Neverending is Monolord’s catchiest album to date, with more hooks and shorter, punchier songs. The songs are also more personal, dealing as much with relationships as with the usual existential and apocalyptic subjects. 

“You Bastard” explores both sides of the tragedy of suicide. The verses tell the story from the perspective of the person who commits the act. “Didn’t ask to be born,” Jäger sings morbidly over an infectious, chugging riff. As a contrast, the choruses address the pain from the view of someone left behind. “I’m alone now; got nowhere else to turn,” he sings. “And it’s over, you bastard.”

If “You Bastard” is built around hooky riffs, then “Inside a Collider” is the opposite. The band pairs a brutally slow, plodding rhythm with melodic, psychedelic lead licks to create an immersive experience steeped in a brooding mood.

Though the band has a single guitarist, on most songs, Jäger layers thick guitar textures by pairing deep, powerful riffs with higher accompanying melodies. The songs use repetitive grooves with subtle variations to add extra flavor. 

Such is the case on “Oozing Wound.” Häkki’s rumbling bass groove is consistent, while Jäger’s guitars sync with it at times, drop out at others, and take center stage for two solos. Willems’s punishing drums punctuate the heaviest moments. Over the nasty groove, Jäger sings about a love-hate relationship. “I saw how bright you burn,” he sings. “Watching you be consumed.”

The hook-laden “The Masque” is one of Monolord’s catchiest songs. Slow riffs in the verses build to infectious, head-banging riffs in the chorus and culminate with complementary solos. Among the captivating hooks, Jäger describes feeling trapped and helpless. “I’m standing in the bright light; I’m feeling for our world,” he sings.

The album ends with another new wrinkle for the band. “It’s Neverending” is the first Monolord song with vocals by someone other than Jäger, in this case provided by Entombed bassist Jörgen Sandström. His death-metal growl adds a heavier edge to the dynamic doom epic. The riffs shift from thick and suffocating to faster chaos and back. Midway through the song, the walls of distortion fade away, and Sandström briefly croons over a light melody before the crushing riffs and harsh screams return.

Monolord has always delivered powerful, monolithic riffs and dense, oppressive textures. By adding more hooks and making some songs compact while allowing others to wander, Neverending presents a more accessible album that resonates long after the immersion in its menacing soundscape fades.