There is a lot to dissect from Sunn O)))’s latest offering just by analysing the artwork and the circumstances regarding the release. Not counting collaborations, Sunn O))) is the tenth full length by the drone duo of Stephen O’Malley and Greg Anderson. Also, if we count the two years the duo was first named Mars, it has been 30 years since the project’s foundation. Not many bands wait that long for an eponymous work. As for visuals: Many of their releases share abstract artworks but using two paintings by famous abstract artist Mark Rothko is pretty on the nose this time. Sunn O)))’s music is the audio equivalent of a minimalistic abstract painting, so using such notorious artworks puts further weight to things. And to top it all off: This album has been released by the famous record label Sub Pop (and it’s their 40th anniversary, so congratulations to them too). In a way, things have come full circle, as that’s the label that released Earth’s first couple of releases, with their groundbreaking debut album being a crucial point of reference for Sunn O))).
Just like Mark Rothko explored the pure nature of colour, Sunn O))) wishes to explore the pure nature of sound. Seeing Sunn O))) live is a unique experience, mostly removed from their studio work. And for a long time, Sunn O))) has either collaborated with many artists and bands or experimented with richer textures and instrumentations like on Life Metal or Monoliths & Dimensions. But Sunn O))) are now returning to the primitive, youthful rebellion of their very first releases. This noisier, dadaistic style of theirs was always more difficult to digest even for Sunn O))) fans, to the point that I often believe that most people prefer Sunn O))) as collaborative partners rather than on their own.
This bare bones approach will certainly confuse both new and old listeners alike. But still, as “meat and potatoes” Sunn O))) goes, this feels miles away from works such as ØØ Void and Flight Of The Behemoth. All lies in the little differences hidden within the massive riffs. Comparing the production from this record to the one used on their debut album would be like comparing a 4K movie with an old VHS. Sure, an old sound might be charming but the level of texture and detail to be found on this record makes for a more physical experience. There are no such things as horns, strings, harps, vocals or percussion, or much else that they have tried in the past. The only three things I easily noticed was the intriguing go-stop-go motion during the beginning of “Butch's Guns”. It’s as close to a drone breakdown as we are going to get! There is also the somber piano of “Glory Black”, and of course the field recordings and natural sounds of rain and wind that adorn many moments in this album.
Do these walls of impenetrable riffs contain any message at all? Should they? Isn’t the expression of sound enough to justify its very existence? I love the sound of rain, wind, wood crackling in a fire, and the rumbling of thunder. But these sounds do not represent anything besides the existence of the thing that creates them. Does this happen to drone music as well? These long, drawn out riffs and feedback. They just stand for themselves. But I do feel and see things while listening to certain sounds. From as mundane as the deafening sound of the wind as I ride my bike very fast on my way to work, to the warmth, comforting sound of a fire back when I went to the woods with dear childhood friends. So these sounds have meaning. We just have to search deep within ourselves. Why do I usually think of industrial landscapes while listening to drone music like the one Sunn O))) makes? Perhaps it’s the cold hum of machinery. A reflection of a broken society which values productivity to unhealthy levels. Yet the inner sleeves of my vinyl copy have depictions of trees on them. The duo has explained how they went for a walk to the woods each day, before heading to the nearby studio. Does context then change my appreciation for the album? Beats me.
To review an album like Sunn O))) seems utterly pointless sometimes. Those who never liked the band won’t start now. And their fanbase can be very fragmented. But I’m sure of one thing: Sunn O))) is celebrating their three decade long career by focusing exclusively on the bare necessities. The exploration of sounds through extreme minimalism. How far can we push monolithic riffs? What can they do to the body and mind? I intend to find out with each release and concert I catch. I’m grateful for that journey. To paraphrase Sunn O))): I also want to thank “the parents of Black Sabbath for raw doggin’ it” and thus leaving me at this spot in time, as it was eloquently written on the record’s liner notes.
