Posts Tagged Sunn O)))

Wormrot Still “Worst Funeral Drone Doom Band”

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Wormrot is the first band in Rolling Stone history to have retained a staff and readers’ poll title six times consecutively (Photo:  Earache Records)

 

For the seventh year in a row, North African trio Wormrot has been designated as “Worst Funeral Drone Doom Band” by Rolling Stone magazine, becoming the first group in the popular American biweekly publication’s history to have retained a title six times consecutively.

The dishonorable designation came amidst many others in Rolling Stone’s annual “Best and Worst in Popular Music” staff and readers’ poll. A record 1,000 titles were handed out this year, including “Best Heavy Metal Rock Band” (Fleetwood Mac), “Worst Synthpop Band” (Anaal Nathrakh), and “Best Progressive Southern Gospel Band” (Crimson Moonlight).

Before every title is awarded to its recipient, a lengthy and complex consideration of various factors—including positional prominence of the drummer in band photos, minimum name-your-price minimum on Bandcamp, and number of posts about X-Men on personal social media accounts—takes place to ensure that fairness permeates the final judgment.

As fate would have it, Wormrot was judged—unfavorably.

“This band never learns. Time and time again, it churns out straight-to-the-point tunes that are so short, they are over before my adulthood is,” senior Rolling Stone scribe Don Haffaklue wrote in his capsule review of Wormrot’s latest album, Voices.

In her latest online column, N. O. Edea, managing editor of Rolling Stone, also criticized Wormrot for its immense lack of subtlety and sensitivity towards pathologically patient adults. According to her, the band must “learn to appreciate musical verbosity and the virtue of inactivity” in order to halt its incessant descent to PR hell.

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Negative public perception of Wormrot is attributed to the three-piece’s lack of subtlety, and love for brevity (Photo: Earache Records)

Other opinions about Wormrot’s blatant disregard for sub-genre boundaries abound on social media, and they range from oblivious to delirious.

Rolling Stone reader Rhea Budtase questioned on Twitter: “#wormrot? isn’t that nick jonas’ new band?” On Instagram, celebrity vegan shoelace weaver Bond Pölzer posted a photo of a painting of a photo of himself stoning to a vinyl copy of an obscure Wormrot split with an unknown Bhutanese life metal band being played at 6.66 RPM, with the caption: “WO)))RMRO)))T”.

Outside of social media, some Rolling Stone readers expressed coherent, albeit chichi opinions about the North African three-piece.

“They are definitely taking steps in the right direction, they certainly know what they are doing,” said Noah Sarbstans, an avid scanner of Rolling Stone headlines at 7-Eleven outlets. “This band has always been, and will continue to be, at the frontier of pop music.”

Another reader, Elm Merture, a self-proclaimed music journalist, waxed lyrical about Wormrot’s ceaseless rebellious streak, and likened the trio to famous champions of freedom in modern history.

“Channelling the indomitable spirit of historical greats such as Mahatma Gandhi, Nelson Mandela and Seth Putnam, Wormrot is not afraid to look discrimination straight in the eye and say, ‘Begone! Let there be no walls between black and white, thrash and death, stoner drone doom and funeral drone doom, et cetera. Man is born free, and everywhere he should not be in sub-genres,’” she wrote on her GeoCities page.

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Beaming members of Wormrot laying their hands on Chinese comics for the first time (Photo:  Earache Records)

Despite the largely negative media coverage thus far, at least one key industry figure still maintains an optimistic outlook on the furor.

Digby Pearson, CEO and founder of Earache Records, sees Wormrot’s continued defense of its Rolling Stone title as a half-full rather than a half-empty glass.

“Any publicity is good publicity, this has always been my goal with Wormrot. I signed them in 2010 to lift them out of poverty, and draw global media attention to the plight of working-class North Africans who cannot afford Insect Warfare’s catalog on vinyl,” he said over the phone yesterday.

“It’s heart-warming to see that they can afford necessities like crew neck T-shirts and Chinese comics nowadays. So clearly, the persistent media coverage of Wormrot, good or bad, is working in my favor,” he added with a chuckle.

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New Sunn O))) Album Is Silent

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The ‘O’ in Sunn O))) is silent, and so is the exalted fridgecore purveyors’ new album. News of this monumental artistic endeavor broke today on the Seattle natives’ Ello page in the form of a scrambled animated GIF image, which remained cryptic until a fan promptly unscrambled it using a World War II-era German military Enigma machine.

Titled 50′ 00″, the latest studio offering from extreme music’s most polarizing duo was recorded on phonautogram in North Korea’s central library. It was produced by renowned experimental decomposer John Cage, and mixed by acclaimed washing machine technician Merzbow at an abandoned love hotel with good architectural acoustics in Saitama, Japan.

According to Sunn O))) guitarist Stephen O’Malley, only 433 copies of 50′ 00″ have been printed, and they will be randomly scattered throughout the Deep Web beginning sometime in winter. Black market forces will determine the price of each copy.

“We have pushed the envelope again. This time, we have redefined extreme metal—no, art as we know it,” said O’Malley. “What could be more avant-garde than giving a recording medium back its true voice?”

He continued: “Hold any record up to your ears, and you will hear nothing but stony silence—nothing surprising about this; it is merely natural. But for decades, millions of misguided ‘musicians’ have been stuffing records full of music after gleefully taking their silence to imply consent. That is utterly unethical. 50′ 00″ will free records from the bondage of musical structuralism, and be looked back on as a masterpiece that started a new movement championing the inalienable right of recordkind to remain silent.”

Containing just one track that shares the album title, 50′ 00″ clocks in at exactly 50 minutes. To combat sloppy piracy and foster respect for artistic intentions, each copy of the album was made with patented IMF technology; any playback of 50′ 00″ that exceeds or falls short of 50 minutes by a nanosecond will trigger a self-destruction sequence with a countdown timer counting down from the square root of one’s current Body Mass Index (BMI), rounded to the nearest whole number.

In response to the overarching concern of audiophilic fans, O’Malley promised that 50′ 00″ is not part of the Loudness War. It was “mastered like a classical music record” and has the dynamic range of “something like Colored Sands.”

Early reactions to 50′ 00″ are already trickling in, and they are generally positive. Napalm Death vocalist Mark “Barney” Greenway called the album “brilliant” and lamented that it was something his band “should have done in 2005.” Annie Cougar of Better Homes and Gardens gave the album five hoes out of five, praising it for being “more accessible than the quietness of an empty home.”

To promote 50′ 00″, Sunn O))) will tour libraries throughout North America this Christmas season with supporting acts the American Association of Mute Ventriloquists (AAMV), Literacy for Incarcerated Teens (LIT), and Memorex.

Members of the public are welcome to partake in an exclusive sneak preview of 50′ 00″ tomorrow at the “Zoroastrian Pottery” section of an undisclosed second-hand bookstore somewhere in Southern Missouri.

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New Sunn O))) Album To Feature Gurgling Stomach Noises, Garage Doors Opening and Closing

Ambient, drone, doom, experimental, black, minimalist, noise, power ambient, musique concrete, trancecore, avant-garde, post metal band Sunn O))) is back in the studio working on a new genre defining record that may be in stores as early as July.  The record, which will be called “The Crucifixion of Plants”, will be released as a triple vinyl LP that can only be played on Teflon coated record players that were made in Myanmar between the years 1986 and 1989.

In spite of a massive amount of pre-order requests, the band has insisted that there will only be 12 copies printed.  Ten of the copies will be hidden in random Chili’s restaurant kitchens throughout North America.  One special copy of the album will be buried in the chest cavity of a cadaver at a morgue somewhere in Northern Kansas.  The final copy will be cryogenically frozen until the year 2052, when it will be launched into outer space inside the corpse of a humpback whale.  Many fans of the band believe this could be their most accessible record.

Band members Stephen O’Malley and Greg Anderson have not given many details about the album, but the ones that have been released sound very promising.  The first track called “Trgh5ueh7slyVuhQ(){“ will be a recording of a man eating and digesting a pound of fire ants.   Track number 2, the magnificently named “Fierce Glruh99rf”, will feature 12 chainsaws being thrown off of the Eiffel Tower mixed with hundreds of garage doors opening and closing underwater.

Some of the other album highlights include a 12-minute recording of a turkey pot pie being heated up in a microwave, a song where 500 kindergarteners try to tune guitars while wearing fake 3 foot long FloJo press on nails on each finger and a twelve second long cover of Jethro Tull’s “Thick As A Brick” played by a chimpanzee hitting a tin can against a wall.

Despite the fact that no one outside of the band has heard the record, Spin Magazine critic Andy Lafontaine has already called it “The Best Metal Album of 2015”.   “You don’t need to listen to a Sunn O))) album to understand its significance,” wrote Lafontaine in his recent review of the record, “All you need to know is that this is the sort of thing that you can have on your shelf and get mad respect from people at parties who think it makes you look edgy and misunderstood.”

(Editors Note:  I really dig Sunn O))), but if I have to read another hipster reviewer write about how one of their albums is more significant than the Russian Revolution while ignoring 99 percent of metal music in their publication I think I’m going to stick a fork in my eye)

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