Monomyth is Fin Fang Foom’s first full length release in six years, following both the death of their original drummer and founder Michael Triplett’s contraction of spinal meningitis which nearly caused his death. Following such an ordeal, any band would be forgiven for turning their backs on music forever. Fin Fang Foom, however, have returned with an album that destroys any suggestion of too long a wait with crushing precision.
The album grows from an inoffensive trickle of guitar riffs and hit hat into a cascading waterfall of imperfect rock. The growing noise creates a soundscape that drowns its listener in a world of bubbles, each encapsulating the excitement, fury and tempestuous force that the band have come to represent. The title track is a flawless highlight of the release, a beautifully crafted instrumental piece.
Monomyth contains such a mismatch of instrumental sounds that it could be forgiven to think that the record had been constructed from thousands of pre-recorded samples. ‘Regret’ is what one would expect a collaboration between Mouse on the Keys and Maserati to sound like, the ghostly organ sounds interweaving with a guitar riff doused heavily with reverb.
The band have re-imagined a rather sleepy genre into a vicious bear fight, with the tearing of flesh and the sound of clashing giants taking centre stage as the album grows in stages. More to the point, they have reaffirmed themselves as masters of the post rock genre with Monomyth.