“Bitter liquid sanctuary, bluish sight wait patiently.“
Now and then within the UK’s underground and DIY spaces, there are bands or artists that emerge who capture imaginations with their quality and potential. Their early material must form a key stepping stone. Examples such as Heriot, Graphic Nature and Angel Number really spring to mind, all of whom produced records that showcased their unique musical soundscapes, proving that they were already among the finest acts that are present here.
The latest signs of this have come from Monochrome, firstly on their debut EP Haunted Faith and Hidden Trust, one of last year’s strongest EPs. Following that came a feature from Monochrome vocalist, Eliza Everrit, on chaos.sequence‘s underrated record PROEJCT :: CHIMERA. This performance hinted at a heavier vocal side that hadn’t been fully unleashed on Haunted Faith and Hidden Trust. This was bound to show itself in future material from the south-west unit, as recent singles have now proved, giving that brutal edge that has made them sound like an absolute force.
By now, they’ve more than shown their live aptitude. In addition to simply being a workhouse on the south-west tour circuit, a deserved “Metal To The Masses” win saw them perform a coveted spot at Bloodstock 2025. It was here that the likes of “Dropping Teeth” and “Levitate” saw their live debuts, with the latter releasing alongside “Still Suffering” as singles. Monochrome‘s next entry was subsequently revealed in the form of From The Outside Looking In.
As “Dropping Teeth” hits, the evolution of Monochrome is placed front and centre. The baritone guitar rings throughout the track like a call to arms, and remains a mainstay of the record, stitching itself into the fabric of each track. Throughout From The Outside Looking In, Everitt‘s range is shown. The rage-induced vocals have a bite and snarl to them, with gutturals pulled out for good measure. Alongside the lyrical content (“Even when I’m bleeding out on the brink, you are no match for me“), the sheer force of Monochrome is breathtaking.
It’s on the aforementioned singles where the nuances begin to bleed in, both of which contain outstanding melodies on their grandiose choruses. The lyrics “Tragic alleviate, watch as I levitate” on “Levitate” and “Serenity in struggling, why are you still suffering?” on “Still Suffering” hook themselves into the mind, no doubts destined to become key callbacks in live settings. The rhythm work begins to truly shine on “Levitate“, with the bounce of the baritone capturing the ear, before leading into that earworm chorus. The piercing screams make their return on “Still Suffering“, combining the feelings of the two tracks that have come before it: the heaviness of “Dropping Teeth“‘s verses, then the sublime clean vocals on the chorus.
From The Outside Looking In continues to produce special moments on “Do It Again“. The record’s sound is still deepening, with jazz influences woven into the groove work. The baritone guitar ones again rings through the track with a commanding force, despite the added intricacies. While it’s a term that’s thrown around, the chorus and closing elements have that ethereal atmosphere to them, as if they are calling to something beyond itself. It’s a realm that is touched on throughout the record, summoned by Everitt‘s vocals to create these soaring soundscapes. The track leads into a bridge that is spine tingling, with as “I hear the angels whisper, I’m crying out for more, you want me to believe you” is sung out, “Do It Again” ascends to something otherworldly.
Akin to what Monochrome did on “Leave It All Behind“, their sound is drawn back to its most heartfelt on “Open Heart“. As the ‘gaze influence shines throughout, delivering heartfelt lyrics such as “Let your bloodthrist become mind / black vines growing intertwined” that glide along the strummed chords. Pivoting the atmosphere towards the reflective with matching instrumentals creates a cathartic closer. As “Tender force, open heart” is sang by Everitt, as the chords glisten then fade like final glimpses of a star burning out.
Any expectations have simply been outdone by what Monochrome have put together on From The Outside Looking In. This is not just a band who are confident in their sound and know what they want it to be. Far beyond simple mimicry of their forebears, they know how to truly wield that sound and achieve their goals. With UK festival appearances lined up at Takedown, Burn It Down, and likely more to come, those who are enchanted Monochrome‘s sound in a live setting will have a record of superb quality waiting for them in From The Outside Looking In.
8/10
From The Outside Looking In releases on March 27th independently, with both pre-save and tickets to their upcoming shows here.