The mantra “no gods, only monsters” cuts to the heart of today’s global political scene, highlighting a world bereft of ethical leadership and dominated by power plays and humanity’s more sinister instincts. Seattle’s post-punk project Only Monsters harnesses this raw energy in their raw, emotive sound, evoking the spirit of influential acts like Fugazi, Pixies, The Lucy Show, Pere Ubu, and The Bolshoi, particularly through their charged vocal performances.
In their latest full-length effort, “No One Hears, No One Sees,” Only Monsters craft a stark narrative arc that mirrors the tumultuous nature of our current era, weaving together themes of existential dread, resistance, and the search for meaning amidst chaos wrapped in a minimalist, almost dark folk oeuvre with a subtle amber glow, hits the ears like whiskey poured into a glass filled by Tom Waits or Nick Cave, louched by American indie rock and post-punk.
The album opens with the haunting In Medias Res, a Latin phrase that translates to “into the middle of things.” It’s a literary and artistic technique where the narrative starts at a crucial point in the middle of the action, rather than at the beginning.
Only Monsters highlights the complex and often ruthless nature of political actions and their societal impact, inviting reflection on ethics and accountability. Drawing inspiration from Pastor Martin Niemöller’s famous poem, it reminds us of the perils of apathy and silence in the face of oppression. (Niemöller, a German Lutheran pastor, penned his poem as a reflection on his complicity in the Nazi regime’s rise and as a warning against political indifference’s dangers.)
Smiling On An Unkind Planet delves into the intricate task of finding one’s way in a world brimming with obstacles and hardships. The concept captures the essence of discovering light, optimism, and endurance amidst a reality that frequently appears cruel and relentless. The human spirit’s ability to maintain a sense of joy and resilience is put on display, even as we all navigate our tumultuous journeys on this vast, spinning blue sphere.
Oh Death strikes a chilling chord, blending the haunting vibes of English folk with the dark twists of American Gothic. This track stands out with its minimalistic guitar and soulful, blues-inflected vocals that echo through the air.
The starkly provocative opening line “I have an idea, let’s kill everyone everywhere” sets the tone for Negligence, a track that thrusts listeners into a frenzied, menacing tirade, marked by its ferocious growls and unbridled energy.
I’m Trying delves deep into the heartache of defeat and the torment of ineffectiveness, anchored by the poignant repetition of “what can I do?” Meanwhile, Judge-Penitent shifts gears into a more melodious realm, with its sorrowful guitar riffs reminiscent of Nirvana, weaving the story of a luckless individual.
Thunderous drums and a hypnotic bass rhythm set the stage for the gripping finale, Should I, a deep dive into the chilling realms of self-reflection, grappling with the profound unease of being alone and its profound effects on one’s mental state. The eerie wails and the recurring plea, “SHOULD I?” echo the vibe of late 60s psychedelia, yet twist it into something more foreboding, akin to the chilling words of Porter Wagoner’s unforgettable folk horror anthem, The Rubber Room. It is a tour-de-force performance- an exorcism not intended for the faint-hearted.
Listen to “No One Hears, No One Sees” below, and order here:
Follow Only Monsters:
Or via: