‘’Sunn O))), the Rothko of void painting expressionist metal’’: Kannon
Sunn O))) are a Paris/ Seattle based Drone band formed by artist Stephen O'Malley and Greg Anderson in the late nineties- originally formed as an Earth tribute act- playing sludge based riffs at ‘ultra low’ beats per minute at high volumes. Volume remains as an uncompromising component.
Their existence forces me to ask so many theoretical questions about the physical properties of sound, and consider my own perceptions of noise vs art, that depth is my biggest attraction. Sunn O)))’s style is be categorised by distortion, feedback, rupturing chord progression, drop A tuning and an almost complete avoidance of rhythm, melody or percussion
Alongside a number of key collaborators in terms of recordings (Hungarian vocalist Attila Csihar being introduced as a regular contributor from Monoliths and Dimensions onward) Sunn O))) have collaborated with a number of key visual Artists; Richard Serra (Monoliths and Dimensions) and New York Sculptor Banks Violette (Oracle)
***(Unfortunately I can’t insert photographs at this point, as I’m not getting my hands on my physical copy of the release, until December 25th… as i’m receiving it as a gift)***
Kannon is the bands first ‘solo’ release since the success of 2009’s Monoliths and Dimension’s and early conversations and discussions with friends have question’d if this is a step back for the band? I’m unconvinced such an experimental band could take a step back because their playground has always been so unique, but admittedly some of their more avant-garde tendencies have been stripped to the bare minimum, which means Kannon has to be taken at face value.
Sunn O))) have always blurred the lines between sound and art. Interpretation of their music is widely varied. My experience of them at Temples Festival (May 2015) was definitely all about the physical properties of sound, due to my complete exposure to sonic vibration, admittedly I was standing about 12ft away from the backline…. but when I saw them again as part of David Bryne’s Meltdown festival at the South Bank Centre, (August 2015) the show was seated, they played alongside Sherpa - and the experience definitely placed Sunn O))) into a category of ‘performance Art’. In terms of Kannon…. I’d say the balance between sound and art falls more to the right than previous releases.
The theoretical nature of the concept behind this LP is evidently clear. Kannon (split into three parts) is inspired by the buddhist gender fluid deity Guanyin Bodhisattva. Attila’s vocal develops into a almost monk like chant throughout Kannon 2’ and its artwork is formed of a photograph of a commision sculpture by Angela Lafont Bollinger, a London based multidisciplinary artist.
“…I started with an intense research of Guanyin, the imagery, the history, and immersed myself completely into the subject. I then put together a very detailed presentation of ideas… we came to a unanimous decision and went for an idea of “the abstraction of the God of Mercy”. It started by sculpting different black reflective materials, which I then combined with ancient rocks and crystals allowing the surface to be rich and to be viewed as something unseen – an undulating form representing Guanyin’s many hands and heads…”
Images linked from Lafont.ch
A prominent feature of Kannon is a substantial textual dialogue, the liner notes come in the form of an essay by performance artist and theorist Aliza Shvarts - who wrote a feminist perspective of the band. ‘By making this theoretical statement a prominent component of the total package, Sunn O))) seem set on transforming how listeners understand and discuss heavy music’.
More than any of their pervious material, I think this record is perfectly suited for those who have a curiosity about noise/ drone that they want to explore, and Kannon offers an oppurtune inlet because of its delicacy. The record begins with a gentle hum and spends a further thirty minutes captivating you. The production (Randall Dunn) on this record is cleaner, brighter and in some aspects communicates recent live performance more accurately than previous recordings. Instrumentation is easily distinguished, although Syth raises so gradually in the mix that it only becomes apparent as the drone fades.
As much as I definitely enjoy (and will continue to enjoy) listening to this record, I do find myself missing some of the more diverse components that featured heavily on Monoliths and Dimensions, It’s worth mentioning that ‘Kannon 3’ reworks Dømkirke’’s ‘Cannon’ - pre ‘Monoliths and Dimensions’ - and for that reason I’m a little disappointed with it’s limited length- this release would have probably been better received as an EP. (Although I’ll almost definitely fall in love with the larger components of the artwork)
Fingers crossed for another release next year.
‘**Solo’ - Kannon features Attila Csihar, Oren Ambarchi, Rex Ritter, Steve Moore, and multiple other musicians.
