Monuments release self-titled debut album

Monuments release self-titled debut album

Similar to the kind of fate Kurt Vonnegut referred to in Slaughterhouse Five that saved the meta-fiction writer during the fire bombings in Dresden during WWII, Monuments singer Gabriel Berezin has struggled daily with whether it was fate or just dumb luck that kept him from being incinerated on the 97th floor of World Trade Center 1 on September 11th. His girlfriend kept him in bed an extra half hour that morning. Whether it was in the cards or not, sex saved his life.

Monuments' self-titled debut explores the rage, paranoia, defiance, dissociation, cognitive dissonance, and flawed faith that lay in the embers of all that remained the day after. That time has long passed, but the statements made on this album continue to resonate.

The Brooklyn quartet aimed for big rock on their first full-length effort - massive 33" inch kick drums, aggressive grooves, throbbing fuzz bass, rolling percussion tracks, analog guitar delays that go on forever, and vocals tracked 30 feet from the mic that sound like they're whispered in your ear. They set out to achieve something massive and yielded something massively intimate.

While originating from the specificity of a singular, cataclysmic event, each song branches out into its own unique identity, expressing universal messages both lyrically and sonically.

As coined by the Village Voice, "check their brand of epic quiet now."

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