Sunn O))): Kannon

Sunn O Kannon

Sunn O))): Kannon
Southern Lord (2015)

Don your robes, light your torches and bow down to the Drone; Sunn O))) are back, in black.

Kannon is the sound of pagan rituals, full moons peering through dense forest foliage, firelight, candles and old gods rising from the murk. Hooded figures huddle over their instruments in the mist. Dense waves of distorted drone impregnate your body and rattle your organs. Your joints threaten to come loose. Your only option is succumbing to the meditative trance placed on you.

For almost 20 years now Sunn O))) have traded in down-tuned guitars playing snail-paced riffs at bowel shattering volumes, each note drawn out into a feedback drenched drone. Their music is thick and textured like impasto paint, a sound that takes physical form. They’ve spent time embellishing this concept with all manner of decoration, taking the sound as far as they can, but Kannon strips back the guff and returns to their roots.

The choirs, chamber orchestras and FX from 2009’s Monoliths and Dimensions have been stripped right back and buried in the mix. Anything non-guitar is present for atmosphere only, a mere canvas for the band’s blackened drones.

Regular collaborator Attila Csihar returns to provide a range of bizarre incantations and proves what a versatile contributor he is to the realms of extreme and experimental music. He floats between monochromatic chanting, and textural growls reminiscent of Tuvan throat singing or the extraterrestrial from the Predator movie franchise. He is theatrical, cinematic and incredibly evocative.

I was enamoured by the ambition of Monoliths and Dimensions on its release. You had to admire the balls that Stephen O’Malley and Greg Anderson showed by taking the project so far from its core. But eventually I returned to those earthier, grittier and frankly more contemplative early recordings. On Kannon, Sunn O))) sound like they too have realised simplicity is a blessing. This record is a fucking cracker.

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