Review by adhlactha on April 21, 2020.

The music of Atrox has never been good for definition, maybe only on their first doom metal record, but even then they've still created an individual approach. Their later experiments were like utter madness, but after the departure of their vocalist Monica Edvardsen, the music became less bizarre. With new vocalist Rune Folgerø they released two albums, and the Monocle is the second in new style (and with the gap of almost ten years).

There’s no such word as limits in case of Atrox, there never was, so they go on with their experiments even after such a long pause. But the comeback was very welcome, even with so massive rivalry in genre. Of course, in a sense, they had their name on avant-garde scene, but they were never famous. This music is progressive as hell, but instead of alarming you in technicality, after some time you start to sing along, because the songs are simple to perceive, and the melodies are catchy. Almost in every composition there are strong guitar riffs, and they precisely create the structure of the song. Rune’s vocal range isn’t outstanding, but his singing is so intense and shrewd, that it compensates the excuse of angelic/demonic manner of Monica’s singing (she’s like a goddess). Of course, I still miss her talent, but new Atrox are on a right path, this is now different band in a way, so better not to compare. The principles of heavy metal are followed here, so it’s not some out of style music, and with some influence of electronic music (especially on songs 'Suicide Days', 'Mass' and 'Movie') this album recreates good balance between heaviness and pop-like attitude. Clean sound and the articulate audibility of every instrument (as well as vocals) create comfortable conditions to immerse yourself entirely in the Monocle.

Virtuosity and confidence of every musician is really striking, though there is only standard set of instruments for metal band (bass, drums, guitar and synthesizer), but still that’s enough to fit in avant-garde genre. There is a change of mood in every song, and after it the song seems stronger and it’s not possible to miss these moments. Epic atmosphere throughout the record isn’t too prevailing, but it is perceptible. Industrial moments rather fill in through the music, but it’s more a progressive record, and not electronic. Some can say it has gothic influence, but only in a sense of old gothic rock/post-punk scene and dark atmosphere.

There are some difficulties to compare Atrox’s music with some other band. Even after change of style and long pause, they’re still  simply Atrox. Hopefully we won’t need to wait another ten years for new record, because experimental musical scene is far poorer without band such as Atrox.

Rating: 9.2 out of 10

Review by Nathan on March 27, 2020.

20 Buck Spin has become the de facto label nowadays for death/doom; i.e. bands that were too slow for Dark Descent. It wasn't always that way - remember that Liturgy was on this label's roster at one point, but I'm assuming the rousing success of Tomb Mold inspired them to jump right on the bandwagon, as is evidenced by bands like Superstition, Cerebral Rot and Witch Vomit. For an aficionado of the style, this label is likely a treasure trove, but for those of us that prefer death/doom on select occasions the bands start to blur together after a while.

Solothus has the benefit of having a couple albums already under their belt, allowing them to define their style and identity more thoroughly. Unlike a good chunk of 20BS bands that are all about the bouncy caveman riffs, Realm of Ash and Blood is a pensive, desolate affair, emphasizing doom over death. By definition it is lurching, repetitive and consistently ominous in its execution. Upon first listen it can be hard to gauge what Solothus has going for them over other bands, but as time goes on there's a melancholic sense of melody that brings itself to the surface. A common route for bands in this genre to go is to cake the songs in filth, but there's a clarity to the harmonized riffs on this album that could only have been cooked up by some sad, lonely Finns.

Even with the occasional forays into more inviting guitarwork, Realm of Ash and Blood retains its heaviness and airtight atmosphere. The warm, dry riff bed steadily pulsates as a more delicate but equally tense guitar line circles overtop. The dynamics are subtle, and aside from the brief break that 'Last Breath' provides, most of the respite comes from the leads and solos. The opening of the final track, 'A Rain of Ash', is the only thing on this album that I would describe as "upbeat" or "energetic", and even that's a stretch, and it's followed by seven minutes of the same sub-100BPM turmoil that was going on before. 'The Watcher' is the clear single on this one, not to say it's any less dreary than any of the other tracks, it's just a little more condensed in structure. The drums serve as a skeleton and pace keeper and opt to not add much extra spice, they’re pure, disgusting doom, with very little outside influence.

The consistency of this album is both its strong suit and weak point. While Solothus does a good job of keeping you engaged with very minimal guitarwork, their steady vibe prevents them from reaching heights that are truly magical. I often find myself wishing the band went a little deeper into their melodic leads, which is something the closing track actually does very well, but it's a long, treacherous, and at times monotonous road getting there, and it's not always a path I'm in the mood to take. This is basically Hooded Menace if they recruited one of Insomnium's guitarists, which makes for a slightly more palatable mixture, but still one that will likely only appeal to doom junkies. In all likelihood, you probably already knew if you liked this or not before you even heard a note of the music.

Rating: 7.2 out of 10