Sunn O))) - Dømkirke [2008]

Along with close contemporaries Earth and Boris, Sunn O))) have become flag bearers for the doom-metal avant-garde, pushing the genre to new experimental boundaries with each full-length album. While they may have just lovingly mimicked Earth’s early drones with their first set of releases, Sunn O))) quickly evolved into a innovative force of their own right, pushing out heady, slow-as-molasses jams of impenetrable darkness. The chilling spoken word intro of White 1 or the pseudo-black metal wraiths on Black One demonstrated the cloaked duo’s capacity for creating exciting and terrifying masterpieces that were as unique as they were heavy.

Dømkirke carries on with the proud tradition, bringing the distinguished drone masters and their special guests to an ancient Danish cathedral where their compositions could be given a full atmospheric treatment. From what I understand, this was recorded live, giving the album raw power and urgency - a strange word to use given the band’s snail-like pace. The majority of this album moves away from the groaning and drawn-out riffs of the past, opting instead for dense, dark ambient pieces. That being said, the album is still bass-laden and unbelievably heavy, its just more focused on atmospheric drones rather than lumbering guitar work. Vocal contributions from black metal artist Attila Csihar are spine-chilling, as his dark, operatic chants echo like the rites of some ritualistic cult-figure. The later half of the album has him more restrained, offering distant and indistinguishable shrieks and rasps to hover over the searing drones.

source

Dømkirke [2008]

Berlin, Volksbühne 2006 - Part 2

Sunn O))) - Black One (Special Edition) [2005]

Hablar de Sunn o))) es hablar de aquello para lo que ya no se está preparado. Aquello que ha desaparecido y ha dejado de formar parte del todo, del cosmos. Y esa ausencia terrible, nos provoca una añoranza y un sufrimiento, que trasciende a lo mundano y se acontece trascendente, como la naturaleza primera, como lo perdido, como el si mismo. No se debe luchar contra el zumbido apabullante, sólo dejarse llevar por su destrucción nihilista y mecerse en la desesperación. Si el abismo es sugerido como dice Albert Ribas, por un perder pie, por una cierta falta de fundamentos de base y de argumento como si dijéramos, entonces lo es también por las imágenes de ese mismo abismo que nos provocan una caída sin límites a la falta de principios que al fin y al cabo son lo que define Albert Ribas como el síndrome del nihilismo. Pues bien, Sunn o))) son esas imágenes, ese desaliento, esa carencia, esa destrucción que proyecta las imágenes mentales que nos llevarán a la caída. ” … el ritmo, como en las ragas hindús o las improvisaciones de La Monte Young, debe surgir del mismo drone, de esos bajos tremebundos y pulsantes que un día, quien sabe, tal vez formen una alfombra de puro sonido sobre la cual los visitantes de un concierto podrán levitar (Steve O’Malley de Sunn 0)))) …” En este sentido, Sunn o))) representan el aspecto negativo del experimento, la negación per se, el caos último, y por tanto el aspecto destructor y deshumanizador. Esa búsqueda de la descontextualización, de la destrucción de todo argumento, se persigue mediante el uso de una estética no asociada todavía a una ética concreta, es decir por medio de la abstracción, pero además con el añadido violento y políticamente incorrecto del estruendo y la violencia sin argumentación ni justificantes. Del mismo modo que el “noise” persigue la descontextualización y la abstracción total de la música, por medio del uso del ruido extremo sin condicionantes éticos. Sunn o))) lo hacen con el uso del drone (sonido monótono y repetido ad nauseam) no en vano Sunn o))) conciben su espectáculo como un ritual y se visten y actúan en consecuencia. El arte debe ser trascendente, numénico. El arte debe elevar nuestro espíritu. Así pues, Sunn o))) es el caos, la destrucción … Sunn o))) es puro, limpio …

[*mercenario*]

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Black One (Special Edition) [2005]














Tracklist:
*Disc 1 (Black One)
1. Sin Nanna
2. It Took the Night to Believe
3. Cursed Realm (Of the Winterdemons)
4. Orthodox Caveman
5. CandleGoat
6. Cry for the Weeper
7. Báthory Erzsébet

*Disc 2 (Solstitium Fulminate)
1. Wind & Fog
2. Vlad Tepes

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Sunn 0))) - Berlin, Volksbühne 2006 - Part 1

Since the quality of this is that amazing ive recuttet two more clips from the sunnvseurope tour for your pleasure.
Recorded on 3th February 06

Khanate x 3

Khanate (pronounced Con-Eight) was born in Manhattan Autumn 2000 after an initial meeting between James Plotkin/Bass (OLD, Scorn, Atomsmasher, Death Ambient, Trifid Project, several releases on Kranky, Relapse, Rawkus and other labels under his own name and in collaboration with various other individuals) and Stephen O'Malley/Guitar (Thorr's Hammer, Burning Witch, Sunn O)))) administered a necessity to survive the sorely missed bleak aura of suffering evoked by the departed Burning Witch. Plotkin arranged vocal torture courtesy of Alan Dubin (ex-OLD) with whom he had been working together in the proto-dirge unit Shadowcast during 2000 (along with ex-1 drummer Jason Corely). Tim Wyskida (Manbyrd, current drummer in Blind Idiot God) blessed the group with his hammers and Khanate became solidified.

During winter-spring 2001 Khanate recorded and produced their self titled debut in studio necrodrone8negatives, with final mastering by Mathias Schneeberger (The Obsessed, Saint Vitus, Goatsnake). The sounds can probably be described as the next step down the mentally unstable ladder from Burning Witch. Ultra gravitational hellish brooding black doom metal with inhuman vocal constructs. Well, something like that......

Shortly thereafter an agreement was drawn up between the unit and Southern Lord Recordings of Los Angeles for a 2 album contract.

A particular of Khanate is Dubin's relentless vocal assault lying somewhere in the realm of early Die Kreuzen and such venoms. A unified purpose of bottom end wave structure and sound as physical onslaught drives Khanate. Tortured cries collide with the music's low-end, gut-wrenching aggression. Each note is used to create forceful brutal impact..

A testament to Khanate's strength. Most recently Khanate had been using producer Martin Bisi's studio for rehearsals (also the rehearsal space of Blind Idiot God). Unfortunately it was lost after only two sessions after driving a fuming Bisi out of the building because of volume!

www.myspace.com/khanatefans

LINK IN COMENT!!!


Khanate [2001]















Things Viral [2003]















Capture and Release [2005]















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Khanate live "German Dental Work"