Monovoid

Brighton three-piece MONOVOID bring a fresh approach to heavy music with a debut built on riffs, experimentation and years of shared musical experience. MONOVOID release their debut album, Dissolving The Brain, on Friday 27th November 2026.

Who is in Monovoid,  how did you meet and what do you play?

Hello! We are Tom (guitar/vocals), Brian (bass/vocals) and Guillaume (drums),

Tom – We’ve known each other for a long time now. I met Guillaume way back when we were still students. We were both studying music and my band at the time needed a drummer. He answered an ad on the college wall and we’ve been playing together in bands ever since. 

Brian was playing in a different band and we had met by playing shows together. When they disbanded, we also needed a bass player so I asked him and he joined us. 

All 3 of us have been playing together now for over 20 years under different band names.

What is your earliest musical memory?

Brian – It’s so hard to recall the very first honestly. The earliest thing I can remember musically was probably the songs from The Jungle Book. As a small child, those songs were undeniable and inescapable but beyond that, I have to say that The Little Shop Of Horrors. I still am the only musician in my entire family, going back generations so there were no instruments around me growing up. The specific scene that I remember was from the beginning of the song Skidrow, where a large black woman appears from an alley delivering the most amazing and soulful intro. I must have almost broken the rewind button on that bit. It still has the same effect on me, to this day and if I could ever deliver a performance that good in my life, I would die happy.

When did you begin songwriting?

Tom – It was around the time I met Guillaume really, so I guess I was about 18 or 19. I’d been in bands playing covers before that, but I started trying to write my own ideas with my friend Gazz who was the other guitarist at the time. We mostly ripped off bands like Megadeth, Pantera, Opeth initially, but it was a start! By the time I was 20 I was studying for a music degree and started to learn more music theory which helped a lot with writing.

You have your debut album ‘Dissolving The Brain’ released on 27th November 2026. How did you want to approach the making of the album?

Brian – I think we were eager to get it done and to get it done right. We had previously worked with Wayne Adams on our first single, Immense Collapse and after that, we wanted to spend some more time with him. He’s a great guy, very down to earth but also, pushy in a good way. He has a producer’s intuition although his role wasn’t really defined as that, at least not formally. He really helped us a lot in finding the best ways to approach the music. We had it all mapped out and demoed so there weren’t any major surprises but Wayne had a lot of really good ideas. Ultimately, we found ourselves in safe hands and could trust him with the songs. In the writing cycle, we really wanted to have diversity in the songs and we didn’t spend too much time caring whether or not something was too different. 

Where did you record the album and who produced it?

Tom – I’d had a recommendation from my friend Will who said to get in touch with Wayne Adams at Bear Bites Horse studio in London. When we had the first Monovoid song complete (Immense Collapse) we got in touch with Wayne and booked in to record that as a single. We were really happy with how that turned out so we went back there to record the album as well. Wayne is a legend! He did all the mixing and mastering for us in his studio, as well as adding some extra synth sounds and effects to beef things up in a few places.

Do you have any interesting, funny or memorable stories from the recording sessions?

Brian – There was one really cool moment amongst the stress of recording. I had finished doing some vocals and when leaving the control room to go for a p***, a man entered the building and Wayne introduced us. I hadn’t clocked it at first and it took a long moment to realise that Igor Cavalera was standing in front of me! Wayne and Igor perform as a duo called Pet Brick and were rehearsing after our session had finished. I politely informed him I was about to urinate but thanked him for Chaos A.D. He was very gracious. After the coast was clear, I rushed back into the control room and informed Tom and Guillaume. Igor was a huge inspiration to Guillaume ultimately, Guillaume decided not to go and say hello. I will never let him forget it. After that, I was buzzing. 

Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?

Tom – I can’t really speak on any of the stuff that Wayne used in terms of mics and whatnot, but he has a gear list on his website for any musos who may be interested! 

But I can say that we did go for a bit of an interesting choice for the guitar tone. On the previous recording we’d just gone with my usual setup – a Peavey 6505 amp with an overdrive pedal (I use a Fortin Hexdrive as my main ‘always on’ type pedal).
Wayne suggested more of a leftfield choice on the album, and we ended up using a Zoom Tri Metal though a Marshall JCM800. Coincidentally that was the very first distortion pedal I ever owned as a teenager, and amusingly I never got on with it and can’t remember what actually happened to it, but I must have sold or traded it at some point. Anyway, the bulk of the guitar sound is that on the record, with my Ibanez AZ427P1PB guitar. 

In terms of other effects, it’s basically what I have on my board: a BOSS DD-20 and an MXR Carbon Copy for my delay sounds, a TC Electronic Hall of Fame reverb, a Meris Enzo for a lot of the synthy sounds you can hear on there, and a Fortin Zuul noise gate which I have always on as well.

Brian – I used my trusty Dingwall Combustion. I think I used a Gallien Kruger amp and an Orange Two stroke pedal mixed with a random assortment of other pedals. I have no real inclination towards specific gear but mostly, I trust whoever is at the helm to create a good sound for the songs. It can get awfully tricky when you feel precious over certain equipment ahead of time and can lead to some bad decisions, music wise. You can also waste a lot of time arguing about it. I would play anything if it sounded good, even if it means not using your own expensive gear. Not good to let your pride get in the way of these things.

Which of your new album tracks hear you at your a) happiest, b) angriest and c) most reflective?

Brian – Well, for the angriest, it would be Ruinous Belief. There are many emotions mixed in with that song specifically as it deals with very personal subject matter. Anger is certainly some of it but within that, bitter regret. It’s a complicated song emotionally. For The Lack Of Fear is the most reflective lyrically, of that I have no question. At the time of recording, I would say that Balm For a Tired Spirit was the happiest. It has lots of different voices happening plus a blazing solo, so recording that was fun.

Was it a difficult album to write? 

Tom – Over the years we’ve mostly released EP’s under the various projects we’ve been in, besides one full album back in 2014 with Milk White Throat. In comparison to that album, I’d say it was easier. We had about 10 years more experience of writing and playing together since that.
I don’t think it’s ever easy to write a full album, but this time we had a bunch of song ideas, some of which were more finished than others, when we set the dates for the recording. We spent about 6 months finishing off the songs, and working them through pre-production.
We did have more ideas than we eventually used, and there was one song in particular that we ended up ditching because we just weren’t feeling that it belonged with the rest. We kept changing things about it and rewriting parts of it, and it just didn’t really work so well.
I think all the songs on the record came together pretty well without as much difficulty as that one, except for the last song on the album. We did sort of rush that one through as it was actually one of the first song ideas we had for Monovoid, but we focused on the other songs a lot more, and that one didn’t get as much treatment as the rest. 

Brian – Time plays a huge part in how you write. You can endlessly tinker with songs but there will always be some element of time pressure involved. If you spend too long on anything, it can go so far away from the original idea that it becomes much less. The very first impulse of an idea is usually the truest expression as far as i’m concerned. Additionally, you have to understand that you won’t always get to express the song as it sits in your head. Time runs out and you have to run with what you’ve got. Lyrically, the album was interesting. I have a tendency to write lyrics and keep changing things until the very moment before I’m laying down my takes. You have to be adaptive in the studio and know how to make cuts where you need them. That happened a number of times. As I’ve said previously, it doesn’t help to be precious with anything. One of the benefits of working together for so long is that we’ve come to trust each other. We leave our egos at the door. If the guys don’t like something I’ve done, that’s ok. I let it go. In the studio, I argued with Wayne about a certain falsetto bit I was going to do but eventually, he won and we cut it. (I still think it’s better though ;)) I wasn’t bitter at all but that could easily have turned into a whole drama. You just gotta let that shit go.

Who designed the album artwork? 

Tom – Emy Rojas Velasco from Arrache-toi un oeil in Paris did the art for the singles and the album. I came across their page on Instagram by following Blood Incantation as she worked on a poster for them which I was blown away by. They’ve also worked with a ton of other bands such as Oranssi Pazuzu, Napalm Death, Neurosis, go check them out!

One of the tracks is ‘Ruinous Belief’. What was the story/inspiration behind the track?

Brian – For me, this is the most important track on the album. I only had a vague idea when I started writing lyrics and it’s not obvious at first what I’m trying to say until there are enough words on the page to define a meaning. When enough of the largest pieces were in place, I started to build bridges between them and then, when I took a good step back I realized what it was I was intuitively trying to say. I realised that I was writing about what it was to grow up with a depressed parent and trying to be raised under the shadow of having lost one. It explores the aftermath throughout the course of a person’s life and the very specific and damaging ruinous belief that you are left with. It also asks the question of how long these effects last for in the generations that follow. I don’t feel that I have touched the surface with this subject. The most surprising thing was that I didn’t know what I was writing until I was done. I think it was inevitable. 

Do you have any visualisers to accompany the album?

Tom – We’ve made a few music videos to go along with the singles from the album. We did all those with another close friend who we used to play in a band with, Gareth Harwood of Southcourt Studios in Worthing. He did also make an actual visualiser video in addition to the music video for the first single we put out – Antibirth. Those are all on YouTube, except for the 3rd video (for Ruinous Belief) which is coming out just before the album release date.

Where is your hometown and could you please describe it in five words?

Tom – These days it’s Newhaven which is a short drive along the coast from Brighton.
It is dilapidated and run down in various parts, occasionally smelly – due to the port and industrial areas with stuff burning, but it’s cheap to live there (compared to Brighton anyway), it’s convenient for getting to other nicer places and Brighton, and, at least where my house is, it’s quiet.

Brian – I have lived in Brighton for about 20 years. I would describe it as Transient, on account of the people who don’t stay long. Inclusive, for its welcoming, progressive nature. Dirty, not for its exploits but for how little the local authority invests in the infrastructure. Dishonest for the disparity of wealth in the city and the image that it tries to portray. Friendly because, well, it’s quite friendly. It’s a confusing place.

How do you look after your voices?

Brian – Hahaha! That’s funny. I don’t warm up, ever. I find it boring. I’m not good at it. I sing all the time, everyday. I have managed to develop an aggressive vocal technique that doesn’t strain me at all. It used to for sure, but I’ve conditioned it quite a bit now and I know how things are supposed to feel when I do it. Who knows if I can sustain it. We’ll see I suppose. I cannot and will not do ‘fry scream’ or any other technical types of aggressive vocals. It’s not for me at all. It feels like it’s putting on a silly voice which feels dishonest. I’m not saying what I do is any better but I don’t feel like I have to act at all when I’m screaming my tits off. The emotion is apparent. I’ve seen people fry and scream with a straight face.

Do you have any live dates planned in the UK/Europe in 2026/2027?

Tom – Indeed we do, though most of the 2026 dates have happened at this point. We are playing in Bournemouth on the 30th October at The Four Horsemen with Gnasch and Black Groove, and we have our first show at Club 85 in Hitchin booked for the day after the album release, on 28th November. That’s a small dayfest type show with a host of great bands, Erronaut and The Grey are the top two on the bill.
We may still get a few last minute ones booked – last year a bunch of offers came in pretty late for November/December – but at the moment those are the remaining ones.

We have several shows for 2027 already confirmed with plenty more to follow.
15th January we make our way to JT Soar in Nottingham with our friends Ahreman and Masquerader (great bands – go check them out!), then the next day we’re playing at The Dev in Camden on the 16th.

20th February we’ll be doing a small show in Worthing with Infinite Ammo – more friends of ours who everyone should check out.

20th March we’re playing with Ahreman again this time in Gravesend at Leo’s Red Lion for another small dayfest headlined by Hundred Year Old man who I’m really excited to check out live. 

Some other dates are being discussed but yet to be confirmed, as is always the way really!

What two things do you hope to have achieved once you have left the stage?

Brian – First off, that I have played everything correctly! Honestly, getting things right is such a huge thing, especially when you are multitasking in a highly pressurised environment. I love it when I’ve nailed a particularly difficult part that I have to sing over at the same time. There are many little changes we make on the fly to improve transitions in the live show that, if not properly attended to, can be very disheartening. Just remembering everything to the point where it’s in your muscle memory is the goal. The other thing I hope to have achieved is the same effect that I get from watching my favourite bands. I want the audience to have felt something, gotten goosebumps or whatever. It’s the reason that I go to see live music. I want to come away from it different from when I went in. If I can make someone feel that, job done.

Do you have any favoured stage instruments, effects, pedals, microphones etc?

Tom – To be honest it’s basically what I described in the recording section. I can’t afford that much gear! I used all the same stuff for recording as I used live. The only difference being the Zoom pedal and the Marshall amp that we did use on the album as those belonged to the studio.

Brian -My Dingwall Combustion is the best, most versatile instrument I’ve ever owned, hands down. I won’t be without my Dark Glass Alpha Omega. That thing is indispensable. I have also been using an EHX POG 3. It’s incredible.

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

Brian – Great question! I would love to write a score for The Hyperion Cantos by Dan Simmons. The four novels that comprise the Cantos are sprawling, Chaucer-esque tales of pilgrims on a journey across space who are sharing the reasons that they are on the same voyage. Utterly compelling, full of invention and literary reference, especially to Keats. One of the best book series ever written by one of the best, most creative authors to have put words on the page. The scope to interpret this series is endless really. It would be an honour if that ever came to pass. 

Who are some of your musical influences? Do you have any recommendations?

Tom – TOO MANY THINGS. In general some of the biggest ones on our band would have to be Meshuggah, Mastodon, Converge, Oranssi Pazuzu, Neurosis, Tool… along with all the classics like the big 3 and all the stuff we grew up with.

But I’m also really influenced by a load of other things too, Fleetwood Mac, Van Halen, Chuck Schuldiner of Death (RIP), Pink Floyd, black metal stuff, death metal stuff, electronic music like Tycho and Com Truise, old prog bands like Yes and King Crimson.
There’s a lot of stuff that I listen to and take some influence or inspiration from.

Right now I would recommend Anciients most recent album – Beyond the Reach of the Sun.
We just played 2 dates on their tour with them, and since then I’ve really gotten into their stuff.
I’ve also been listening to quite a lot of shoegaze type stuff this year. I would recommend the album Chameleon by Trauma Ray. I listened to that all Summer, it’s really good.

Brian – As Tom said, TOO MANY. My favourites have always lurked on the fringe edges of music. I’ll rattle off my favourites – Pain Of Salvation, Neurosis, Beardfish, Big Big Train, Venetian Snares, Deathspell Omega, early Genesis, late Genesis. Yes, Meshuggah, Animals As Leaders, Oranssi Pazuzu, Jordane Tumarison, Ryuichi Sakamoto, Meat Loaf. 

I don’t believe in the term guilty pleasure. It’s a bull**** thing for bull**** people. 

What makes Monovoid happy and what makes you unhappy?

Brian – What makes Monovoid happy is when we have played the best show we can. It’s such a rush. It’s a feeling. We are also happy when we’ve written something that slaps. It’s simple but when it happens, you become all childish again and it’s super exciting. Reminds us why it’s fun. What makes Monovoid unhappy is when people talk a lot about how they will do this for you, and they will do that for you but ultimately don’t. It sucks when you message someone after a great big conversation and they can’t summon the energy to respond. It doesn’t take a lot to be honest. We’re adults here and there is no need for it really. We try not to do that ourselves and Tom is great at making sure we are honest and responsive. I’m being fairly polite here of course. It makes us so mad. What we’ve learned is that you can rely on anything anyone says until it has actually happened. You’re pretty much on your own from the start. Simply put – If you don’t do it, it doesn’t get done. 

 

Feature Image Photo Credit: Supplied By San PR

MONOVOID’s debut album ‘Dissolving The Brain’ will be released on Friday 27th November 2026.

A new video for Ruinous Belief arriving on Friday 20th November 2026.

Bandcamp: https://monovoiduk.bandcamp.com/track/ruinous-belief-2

Spotify: https://open.spotify.com/artist/2B1KtxmrbL9zKVqah4DQ63