SunnO))).

ALTHOUGH SOUTHERN LORD and SunnO))) have tremendous roots in metal, their audiences are growing rapidly, consisting of metal heads, vinyl geeks, and music enthusiasts. SunnO))) are on the forefront of the atmospheric/drone ordeal. Greg Anderson and Stephen O'Malley were inspired to manifest SunnO))) because of their interest in Seattle drone pioneers Earth. Currently making it known in the press that Earth was their ambition to start SunnO))), this has created a wave of interest in Earth as well. SunnO))) fans are loyal and take the robe-covered cavemen's opinions on music pretty seriously. Before SunnO))) there was Earth. In 1997 Anderson and O'Malley had an idea to start an Earth cover band. In 1998 this became a reality. The evolution of SunnO))) has taken place. Now seven years and six full-lengths later, the latest composition Black One is revealed. The sounds on Black One are of blackened textures taken directly from hell. The compositions get blacker and darker as the disc plays on. New demons are added to the circle of SunnO))) for this recording. They are known as Malefic (Xasthur) and Wrest (Leviathan). Although there are new collaborations and different studio techniques in use, SunnO))) does not lose focus.

Your latest release, Black One, is out now. This is the darkest of all SunnO))) recordings. Explain the influences and inspirations that led SunnO))) to manifest such a demonic composition.

With Black One, Stephen and I had this idea of incorporating our mutual fondness for the aesthetics, atmosphere, and particular tones of black metal into the skeleton of SunnO))). We didn't set out to make a black metal SunnO))) album; however, we wanted to inject elements of black metal into the sounds of Black One. I think it's interesting to hear the extreme dynamics between common characteristics of black metal and the subsonic dissonance of SunnO))). It's a combination that, in my opinion, works well because both share bleak, heavy, and dark qualities.

Who were some of your collaborators this time?

Stephen and I were both blown away by Oren Ambarchi's solo album Grapes from the Estate. The tones were pure, immense, and subsonic. I actually thought they were created by keyboards, but later found out he was making them with a guitar, which raised our respect for him even more. Then he invited us to come to Australia and play an experimental music festival he curates (What is Music). We immediately hit it off and found we had a lot of mutual interests in dark music such as black metal. I first heard (Malefic) Xasthur from a burned CD a SunnO))) fiend in the UK made me. I was immediately drawn to the extreme harshness of his guitar playing and the eerie, murky production. It had a quality to it that was indefinable and unlike anything I had previously heard from a black metal artist. Xasthur's compositions are otherworldly and possibly the darkest I've heard in the metal scene. When I found out that he lived in Southern California I tracked him down and asked if he would be interested in contributing something to our upcoming album. Not only did he agree, he also wanted to do some tracking with us live in the studio. The results are among my favorite that SunnO))) has ever done.

Wrest Leviathan released a few recordings on a label I have a lot of respect for, Tumult. I was immediately impressed by those albums for their powerful compositions and heavy tones. They reeked of someone who was attempting to push boundaries and was not afraid to experiment with alternate sounds. I contacted Wrest and asked him if he would be into playing on a track. He obliged and decided to do vocals on "It Took the Night to Believe." His contribution is non-traditional but has a darkened black metal ambience, like a lot of the Leviathan recordings.

Explain the coffin technique in the studio.

At the studio (Donner and Blitzen) we recorded at, there's an old hearse parked in the back. We thought it would be really cool to do some recording from within this hearse. Upon discussion, we decided it would be even better to lock a vocalist inside the coffin, inside the hearse for the vocal performance. After purchasing a casket and convincing Xasthur to do his vocal takes from within, we set upon the task of mic'ing the casket and hearse. There were at least two contact mics in the hearse, one on top of the casket and one hand-held microphone in Xasthur's hand inside the casket. I think a claustrophobic, evil ambiance was sufficiently captured.

Was Black One mapped out prior to the studio or is it all improv?

A little of both. With White 2 and this album a lot of the riffs and ideas were previously tried live. So we would take some things that worked well live and expand on them in the studio. However as with the nature of the group a lot of the ideas and pieces that comprise Black One are improvised. The first two tracks of the album "It Took the Night to Believe" and "Cursed Realms of the Winterdemons" were 100-percent improvised.

Should eBay be involved with music?

I think the better question is should music be involved with eBay? And the answer to that question depends on your values and morals. I think it varies from person to person.

What's the first thing that goes through your mind when you see SunnO))) or Southern Lord vinyl being sold on eBay?

"I hope that person enjoys the album as much as I did."

Obviously, you are fond of the North American black metal scene. In your opinion, is SunnO))) and artists such as Xasthur and Leviathan the future of metal?

No. I'm not concerned with the future of metal, or the future of any scene for that matter. I try to create music without any preconceived boundaries or limitations. As far as North American black metal and Leviathan or Xasthur, I think that certain music fans that are interested in artists who produce dark, intense sounds will be drawn to them. But even so, this kind of music is underground and not meant to appeal to a wide audience. And there is nothing wrong with that.