The Rock Blogger

Sunn O))). Monoliths & Dimensions . 2009. 4.5 stars

The robed duo return with what is likely to be regarded as their most sophisticated work to date. While the bone-crushingly slow and heavy guitar drones they are famous for remain intact, they are now accompanied by haunting spoken verses (from Mayhem’s Attila), eerie choirs, ambient horns and other atmospheric flourishes. All of these elements weave together to absorb the listener, opening yawning black chasms to the unknown.

The opening “Aghartha” doesn’t verge too far from convention (aside from it’s horror-inspired use of creaks and groans) as the familiar rumble of O’Malley and Anderson burrows its way into your skull. “Big Church” on the other hand, is an evocative departure, as female choirs welcome the seductive pull of these guitars. Their airy voices gracefully line the strange and vivid occultism that lies at the heart of Sunn O)))’s aesthetic. The murmuring male mantras, distant in the mix, also provide another layer of estrangement, recalling rituals long covered by dust and debris. Sunn O))) revives them with dramatic subtlety, pushing their sound from being a curiosity for the drug-addled to a truly avant-garde experiment. Their live project Dømkirke was clearly instrumental in shaping this welcome progression.

Hunting and Gathering (Cydonia) is a more rhythmic piece, with chugging riffs reminiscent of Earth’s seminal Earth 2 . The use of black metal vocals here is far more effective on this track then as the first, as they are more raspy, emotive and convey more “presentness” to complement the powerful guitars. Then the horns kick in, pushing the song into celestial ambiance. An inspired inclusion.

Finally, the concluding piece of “Alice” features the most surprising and cinematic moments on the album. While the opening guitar chords are sparse and spacious, they are soon filled with creeping strings and horns, amplifying the horror film tension that hangs over. The interplay between droning guitar and brass fills moves Sunn O))) closer to dark ambient/avant-garde jazz territory, producing a sonically diverse landscape. The piece lurches forward, like that infamous beast towards Bethlehem, as the horns begin to slowly rise over a grisly bed of distortion. The effect is strangely uplifting, as if the duo has finally found some transcendent resolution to the subterranean tension that has been building in their sound for so long. No other song of theirs is quite like it.

In conclusion, Monoliths & Dimensions is Sunn O)))’s most accomplished work to date. It features moments of both suffocating grimness and ethereal release, encapsulating the band’s steady progression down new and exciting musical paths. This album works both as an experiment in cinematic ambiance and as a highly disciplined metal opera, though it’s self-seriousness may deter the casual listener. Despite some underdeveloped segments at the start of this disc, it’s overall presentation is highly engaging and original. A highly satisfying release.

Neofolk , also known as dark or apocalyptic folk, is an underwritten and complex genre that typically features acoustic and classical instrumentals set against themes of pastoral romanticism, folklore, history and occult. Here are several stunning albums that have defined and expanded the genre.

10. Forseti. Windzeit . 2002.

Beautiful use of strings and dark German vocals define this album. The progressions are effective in their simplicity and evoke the calm of the distant countryside.

9. Death in June. But, What Ends When Symbols Shatter? . 1992.

One of the most well-known, influential and controversial neofolk acts to emerge from the British post-industrial scene. The work of Death in June is always moving and morbid, drawing in lyrical imagery from World War II, The Roman Empire, Norse Mythology and other notorious sources. This highly regarded album reamins one of their most brooding and experimental efforts.

8. Nature and Organization. Beauty Reaps the Blood of Solitude . 1994.

A wonderfully cohesive album that draws in Paganistic themes (including a stirring rendition of The Wicker Man song) in fleshing out naturalistic vision. Along with its sweeping neoclassical instrumentation, the album also features mystical poetics from Current 93’s David Tibet.

7. Nest. Trail of the Unwary . 2007.

Finland’s Nest contrats traditional musical instruments with synths and atmospheric samples to retell Scandanavian lore. An adventourous and carefully crafted album that takes its time to seep in.

6. Empyrium. Weiland . 2002.

This was the last, and probably most rewarding, album from Germany’s Empyrium. Their unique neofolk sound remains intact for their final outing, with greater emphasis on atmosphere and dramatic vocal delivery. The haunting German chants, acoustic interludes, piano keys and swelling strings work together in fluid, transcendent compositions, underpinned by swift, subtle drumming. The occasional flute, horn and brass accompaniment is also welcomed and lends many of these songs a certain grandiosity.

5. Vali. Forlatt . 2004.

Even if you are familiar with other bands in the neofolk genre,  this is still worth the effort to uncover. Whereas its contemporaries are often dark, unsettling and mournful, Vali is uplifting and heartrendingly beautiful. Its soothing compositions move with calm patience, letting each arpeggio descend and cello ache  organically.

4. Agalloch. The White EP . 2008.

The White EP is essentially calls for a return to nature, as the songs conjure images of snow covered wilderness (”Birch White”), contemplative seclusion (”Isle of Summer”) and paganism’s worship of the elements (”Sowilo Rune”). The whole experience, made complete with natural sound effects like chirping and rustling, is meditative and comforting, conveying a deep and eternal connection with our natural surroundings.

3. Ulver. Kveldssanger . 1995.

Easily one of the most important and influentual nefolk albums to ever be released. This is a haunting and gorgeous collection of Norwegian folk songs tinged by sinister tones and acoustic chanting. While nearly every album Ulver has done is incredible, they never made another as organic as this one.

2. Tenhi. Maaäet . 2006.

Everyone of these 12 songs features moments of incredible emotional clarity, whether its in the stirring swells of cello, the gently plucked acoustic guitars or the mysterious chanting vocals hovering in the background, Tenhi color their work with subtle mastery, luring you into different shades of contemplation and release. There are many breathtaking parts to take in, like the glorious piano-driven crescendo of Vähäinen violetissa or the mournful, full-bodied string opening of Kuoppa, where you’ll taken back by the stunning and almost operatic lifts in mood and tension.

1. Current 93. All the Pretty Little Horses . 1996.

What a divisive album to top off a list! Touching on themes of death, isolation and salvation, David Tibet’s dark lyricism remains fixated on the concept of “The Inmost light” or soul that remains dim and suppressed in the material world. The concept repeats itself across the album, remaining the stark point of reference for TIbet’s ruminations on childhood and fading memories. The gentle lullabies like “All the Pretty Little Horses” and “The Blood Bells Chime” have Tibet carefully drawing us into his disturbing and almost mystical visions of abandoned streets and distant forests, playgrounds for the lost characters of his narrative. The lyrics also carry an apocalyptic tension, with mention of a “smashed god” and lonely Christ figures wandering desolate landscapes. Tibet’s vocals are meticulously annunciated, reading off his poetry with almost religious abandon, expressing a distinct English tone that alludes to the visionary musings of William Blake and Alistair Crowley .

Last night, Wolves in the Throne Room brought forth cathartic release to the extreme. Scaling textured walls built from layered tremolo riffs and relentless blast beats, WITTR provided one of the deepest concert experiences imaginable. An uncompromising passion channeling suppressed emotions, long hidden in the Cascades. With movements both raw and complex, the band weaved through material from their three LPs without a moment’s hesitation.

While these performances were recognizable, their sheer density, exemplified further in the flesh, pushed music outside of the containment of “song” and into a deep seated aesthetic consciousness. Music as a pulsating life force, not to be controlled as separated subject matter but an underlying state to be reveled in, lost in, destroyed in. Wolves in the Throne Room, in developing their caustic and spiraling rituals, conceived as unfurling movements into the darkness, called out higher truths from concealment. The performance was not so much a recital of notes, riffs and routines, but of recovering the twisted roots of longing and sorrow that lie behind artistic expression.

I must also mention the equally impressive lineup that opened for WITTR.

A Storm of Light: Sludgy, drugged out post-metal featuring both male and female vocalists in faithful Neurosis worship. An arty and inspired set that took its time to lay down hypnotic dirges.

Krallice: The band closest to matching WITTR’s post-black aesthetic. Raw, densely layered metal that centered on the hyper-mathematical guitar compositions of the legendary Mick Barr. Very few bands can rival the sheer technicality and evocative atmosphere of Krallice.

Thrones: The wild card of the night, Throne’s set consisted primarily of long extended bass drones accompanied by sparse, angular guitar solos. Experimental and patient, Throne’s sound was distinct and intrigued more than a few awe-struck listeners in the crowd. A strange yet satisfying contrast to the relentless speed of the main attraction.

A modest collection of both classic and obscure drone releases.
A burial ground, at the bottom of the ocean.

10, Nadja. Truth Becomes Death . 2005.
This Toronto duo has been steadily rising to the top ranks of the drone/doom metal circuit in North America thanks to their prolific output and monolithic sound. This early LP is a powerful demonstration of their creative powers as brooding slabs of distorted guitar and plodding percussion progressively layer on top of each other. A deep and crushing album.

9. The Angelic Process. Weighing Souls with Sand . 2007.
A cult classic that is slowly gaining new acolytes after the tragic suicide of the band’s lead guitarist. Distant, mournful vocals, reverb-drenched guitars and sqaulls of noise make for a haunting experience. Drone metal and shoegaze elements collide on this emotionally devastating album.

8. Boris with Merzbow. Rock Dream. 2007.
Two of Japan’s biggest names in the experimental underground unite to create what is one of the greatest collaborations I’ve ever come across. Storms of noise surround Boris’ plodding guitars, twisting down towards cacophonous psychedelia. An exhausting album that washes over you, wave after flattening wave.

7. Aidan Baker and Tim Hecker. Fantasma Parastasie . 2008.
A spine-chilling release that combines sparse guitar work with creeping waves of ambient noise, blending together into blissful, otherworldly drones. The duo immerse you in their finely crafted atmosphere, evoking the presence of the paranormal. These two artists collaborate with seemingly telepathic synchronicity.

6. Sunn O))). The Grimmrobe Demos . 2000.
No drone list would be complete without these hooded geniuses. While this first set of demos came before the eventual refinement of their now blackened style, it still remains my favorite. Uncompromising in its scope and pacing, this album’s guitar work sounds like a subterranean revolt against the decadent surface world.

5. Birchville Cat Motel. Gunpowder Temple of Heaven . 2008.
This 40 minute soundscape is an exercise in ethereal subtlety, as soothing drones slowly layer over each other to produce an insanely deep listening experience. While it consists of only one track, it’s still a sonic journey in itself, taking you to the nether regions of the subconscious. A noble and evocative experiment.

4. Menace Ruine. The Die is Cast. 2008.
A terrific and innovative album that uses crushing drones, airy female vocals and jangly guitars to produce an almost mystical experience. Touches of metal, medieval choral music and noise rock seep into this wondrous and elating wall of sound.

3. Jesu. S/T. 2005.
Justin Broadrick’s masterful project is a mighty amalgamation of drone, post-rock, doom metal and industrial styles. The first Jesu LP remains the most devastating, with extensive and bleak songs like “We All Falter”, “Sun Day” and “Tired of Me” showcasing Broadrick’s technical prowess. An inspirational sound that manages to convey power, terror and calm in its thundering bursts.

2. Natural Snow Buildings. The Dance of the Moon and the Sun . 2006.
NSB’s sound, with its tinges of avant-folk and psychedelia, pushes drone to beautiful new heights. While its length is daunting, it’s many mysteries and secrets lay in weight. The use of acoustic instruments, esoteric samples and choral vocals lend ancient and foreboding feelings.

1. Earth. Earth 2 . 1993.
Revolutionary for its time, this album features three slow-as-molasses guitar dirges that stretch onward into oblivion. Its atmosphere is extreme and strangely relaxing, as thunderous riffs slowly turn your insides into amorphous goo. Many have been inspired by its minimalism and density, but no one can match the focus, precision and sheer intensity of this record. An essential piece of doom/drone metal that helped shape the genre.

Spectral Lore. II. 2007. 5 stars.

Athens’s Spectral Lore is a one man black metal project that incorporates dark ambient and acoustic passages into its massive compositions. This is one of the more effective releases to follow this astral aesthetic, producing etheral works akin to the masterful Paysage d’Hiver. The center piece of this album is "The Thorns that Guide my Warpath", an epic 25 minute track that turns down multiple paths in fleshing out its vision. From eerie woodland samples to full-blown blackened drone, the winding roads of this album never cease to intrigue.

While this release is forest deep with atmosphere, it still conveys intense personal passion, carrying with it the voice of a wanderer long lost in the crevices own mind, calling for release beyond this world. Though it takes a while for these (sometimes overlong) passages to sink in, there is a sense of discovery that builds with every listen. After listening to this while walking for some time in the woods, all the pieces fell together into a cohesive stream of consciousness. This is metal with philosophical aspirations. Highly recommended.

I’ve made a lot of purchases and acquisitions lately, far too many to give each a few-fledged review, so I’ll compile some recent highlights into a themed list. If you like this, be sure to check out my old black and viking metal lists. And of course, this list is far from definitive so leave your suggestions in the comments below.

10. Grave. Into the Grave . 1991.

An underwritten genre classic from Sweden featuring some of the most guttural vocals imaginable.

9. Dismember. Like an Ever Flowing Stream . 1991.

As the title suggests, the riffs on this album flow on and on with incredible force. Mind-melting musicianship.

8. Entombed. Left Hand Path . 1990.

One of the most well known albums from Sweden’s early DM scene. Infectious riffs abound on this influential record.

7. Cryptopsy. None So Vile . 1996.

A fine release from this Montreal band. The vocals are unique, garbled and sinister. The guitar riffs are dense and brutal. Suffocating in its power.

6. Cynic. Traced in Air . 2008.

Cynic is well know for their highly technical progressive death metal that incorporates jazz and experimental elements. Like its predecessor Focus , Traced in Air has a heady science-fiction atmosphere to flesh out its other-worldly sound.

5. Nile. In Their Darkened Shrines . 2002.

A fascinating progressive death metal album that uses ancient Egypt as its thematic backdrop. Not only are the riffs highly technical, layered and brutal, they also lead into Eastern traditions, making this a worldy tour de force.

4. Uncanny. Spendium For Nyktophobia . 1991.

Fantastic Swedish death metal that incorporated heavy-hitting industrial flourishes into its complex compositions. Sounding like a cross between Entombed and Godflesh, Uncanny’s rhythmic guitars are colossal.

3. Lykathea Aflame. Elvenfris . 2000.

A beautifully executed progressive death album from the Czech Republic. The riffs are incredibly fast, intricate and boost an almost mystical flavor to them. A highly refined and detailed work.

2. Edge of Sanity. Crimson . 1996.

Another classic with progressive touches, Crimson boasts a single 45 minute track that runs through an elaborate post-apocalyptic narrative. Weaving between clean vocals and metal growls, grinding riffs and soaring solos, this song boasts enough variety and intensity to keep you engaged.

1. Death. Human . 1991.

The greatest death metal band is one that shares the genre’s name. From it’s intelligent and scathing lyrics to its winding solos, fretless bass work and pummeling production, Human has it all. Chuck Schuldinger left us far too soon. A masterpiece that still stands as a towering milestone.

Altar of Plagues. White Tomb. 2009. Profound Lore Records. 5 stars.

In what can be described as one of the most powerful releases of 2009 so far, black metal, dark ambient and doom elements merge into one singular, apocalyptic vision. These natives of Cork, Ireland have produced a monolithic epic featuring dystopian lyrics and an atmospheric approach that rivals Wolves in the Throne Room and the latest in their “post-black” ilk. What distinguishes AOP is the sheer scope of their debut. Not only are the black metal barrages relentless and absorbing, they also go to distant places, conjuring up vivid spectacles of collapse as they shift in pacing, rhythm and composition.

Each of these four tracks are long and winding, charting a shadowy course through expansive ambiance, roaring percussion and eerie arpeggios. When the band is not busy bringing down a hail of debris, they are seeped in black pools of sonic molasses, channeling the caustic doom aesthetic of Khanate. The vocals are also noteworthy, as they possess both the sinister howls we would expect from the genre coupled with greater lyrical clarity and a gripping theatricality that is as sincere as it is tragic.

Like any great metal album with progressive ambition, White Tomb is as transcendent as it is agressive. The densely layered riffs have a haunting lift, producing trance-like sensations. Its lyrical images also suit this atmosphere perfectly, as they air lamentations at the falling cities and peoples around them. As the solemn album art suggests, this work draws attention to urbanization and the tremendous sense of loss and alienation it produces. Altar of Plagues, a metaphorical tribute to the destructive pillars of our modern society, is consistently profound. AOP have used the “post-black” aesthetic to illustrate chaotic fallout far more effectively and personally than any disaster movie or news report could convey. It achieves this not by describing the literal effects of catastrophes, but by exploring the inner trauma and turmoil that rages in the souls of men facing such prospects. In short, this is a timely and evocative masterpiece.