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The influential duo of Stephen O’Malley and Greg Anderson have, over nearly 30 years, created some of the heaviest, most unique, and transcendental contributions to the increasingly amorphous sphere of metal.\u003c\/span\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; color: #202020;\"\u003e\u003cbr\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003eThe self-titled \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif;\"\u003eSunn O)))\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e is the band’s debut for Sub Pop, and their first full-length release since 2019’s twin albums \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif;\"\u003eLife Metal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif;\"\u003ePyroclasts\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e. Like its closest chronological relatives in the Sunn catalogue, it is a gargantuan, monolithic slab. As punishingly visceral and physical as anything in their singular body of work,\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif;\"\u003e Sunn O)))\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e is a rumbling, growling behemoth, one that once again pushes further into our understanding of sound as a physical, living force than most recorded music.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; color: #202020; background: white;\"\u003eAs is customary, the band’s sonic landscape is built on the unhurried churn of down-tuned, distorted guitar. Riffs, if we can call them that, unfurl with precision and purpose, often stretching beyond ten minutes across five of the album’s six tracks. The 18-minute opener, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif;\"\u003eXXANN\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e, hums, drones, and gurgles with foreboding intent, before sinewy, spine-tingling squeals of overdriven guitar briefly cut across its lumbering path.\u003c\/span\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; color: #202020;\"\u003e\u003cbr\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003eDespite its sheer volume and the attritional demands it places on listeners, the experience of Sunn O)))’s music is not unlike ambient music as pioneered by Brian Eno. The difference lies in the environments it evokes. Rather than spaces of calm or the everyday, Sunn O))), akin to the work of drone pioneer Eliane Radigue, conjure something far more ungraspable and ominous. Invasive and enveloping drones soundtracking desolate, infernal landscapes, closer to psychological or elemental extremes than anything recognisably human.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; color: #202020; background: white;\"\u003eAs is customary, the band’s sonic landscape is built on the unhurried churn of down-tuned, distorted guitar. Riffs, if we can call them that, unfurl with precision and purpose, often stretching beyond ten minutes across five of the album’s six tracks. The 18-minute opener, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif;\"\u003eXXANN\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e, hums, drones, and gurgles with foreboding intent, before sinewy, spine-tingling squeals of overdriven guitar briefly cut across its lumbering path.\u003c\/span\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; color: #202020;\"\u003e\u003cbr\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003eDespite its sheer volume and the attritional demands it places on listeners, the experience of Sunn O)))’s music is not unlike ambient music as pioneered by Brian Eno. The difference lies in the environments it evokes. Rather than spaces of calm or the everyday, Sunn O))), akin to the work of drone pioneer Eliane Radigue, conjure something far more ungraspable and ominous. Invasive and enveloping drones soundtracking desolate, infernal landscapes, closer to psychological or elemental extremes than anything recognisably human.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; color: #202020; background: white;\"\u003eGiven the nature of Sunn O)))’s approach, there is little that resembles traditional song structure. This is music that exists entirely on its own terms. It’s about texture, atmosphere and immersion. And like the Mark Rothko paintings that adorn its cover, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif;\"\u003eSunn O))) \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003eis a voyage into a blurred, abstracted psychological state. A skewed, nightmarish reality. An entrancing void.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman'; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-IE;\"\u003eSunn O))) - Sunn O))) is out now on vinyl \u0026amp; CD.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe debut Sub Pop full-length by drone-metal pioneers sunn O))) is a massive, atmospheric journey into a world of crumbling time and space, crackling low-end guitar rumble, and unexpectedly delicate naturalistic textures.\u003cbr\u003eCover art by Mark Rothko, titan of 20th century art. Liner notes by acclaimed author Robert Macfarlane (Underland: A Deep Time Journey, Is A River Alive?)\u003cbr\u003eProduced by sunn O))) and Brad Wood (Liz Phair, Sunny Day Real Estate).\u003cbr\u003eFor fans of Black Sabbath, Earth 2, Slint, early Melvins, Coil, Venom, Glenn Branca, doom metal, ambient, devotional, experimental.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFor nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.\u003cbr\u003eThe eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location proved crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”\u003cbr\u003eSUNN O))) have long welcomed collaborators into their self-contained world: past work has featured, Attila Csihar (Mayhem), composer Hildur Guðnadóttir, multi-instrumentalist Steve Moore, polymath Mark Deutrom, Silkworm’s Tim Midyett and legendary singer-songwriter Scott Walker. But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators has been really fresh and exciting,” says Anderson.\u003cbr\u003eThe compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.\u003cbr\u003eFraming the album visually are two paintings by the late American artist Mark Rothko. 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