(Sub Pop)
The doomy duo strip back their sound to tectonic guitars and feedback, conjuring an immersive, strangely euphoric listening experience recorded in the wilds of Washington
Nearly seven years on from Sunn O)))’s last two albums, the Steve Albini-produced companion pieces Life Metal and Pyroclasts, the drone metal pioneers’ 10th album presents itself as a return to basics. Eponymously titled and released on Sub Pop – the label that put out drone metal’s ur-text, Earth’s 1993 debut Earth 2: Special Low Frequency Version – it strips away Stephen O’Malley and Greg Anderson’s penchant for collaboration (Scott Walker, Merzbow) and much of the expanded musical palette that came with it. No church organ, no dulcimer, no vocals, no radical reassembly of their material courtesy of Nurse With Wound’s Steven Stapleton: closer Glory Black features a brief burst of piano, and there are apparently synthesisers somewhere in the mix, but for the most part, the album seems to deal almost exclusively in heavily distorted down-tuned guitars and feedback, the core of Sunn O)))’s sound since they formed in 1998.
But clearly the notion of a back-to-basics album should not be confused with that of an understated one. It’s not really an adjective that fits something that lasts the best part of 90 minutes, comes wrapped in a sleeve featuring two Mark Rothko paintings – by permission of the painter’s estate – and features somewhere between 130 and 180 tracks of guitar per song. (The latter comes thanks to a studio procedure that involved producer Brad Wood miking up not just the duo’s amplifiers but each amplifier’s individual speakers, and setting up what he called “the world’s largest stereo array of room mics” to capture ambient textures.) It also comes complete with sleeve notes from nature writer Robert Macfarlane, which variously quote the Greek stoic Epictetus, Walter Benjamin, 19th-century naturalist John Muir, author Patrick White and indigenous American environmentalist Robin Wall Kimmerer.
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