Monolith began as a series of site recordings: stairwells, parking structures and turbine halls captured on a handheld recorder across one winter. Back in the studio, those spaces became the skeleton for ten tracks — sub-bass foundations, brass-like synth swells and percussion played on sheet metal.
It is the heaviest Mirabel Voss record and also the quietest in places, mastered for vinyl so the low end moves air the way it does in a room.