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.

This entry was posted on Wednesday, May 27th, 2009 at 5:43 pm and is filed under Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.