Sunn O))) & Ulver - Terrestrials (Album Review)

 

Sunn O))) & Ulver - Terrestrials

(2014)

My copy: 2014 limited press by Southern Lord.

Patience is a virtue, especially when it comes to the slow rumbling drone pieces of Sunn O))). When combined with the eclectic sensibilities of the genre-fluid Norse band Ulver, Sunn O)))’s sound evolves into a series of dark setpieces, with imaginative melodies suffocating or flailing just out of reach. 

Far off strings and keys twirl slowly in the distance on “Let There Be Light,” which proves that Terrestrials seems to more closely resemble the controlled chaos of post-rock than the simplicity of drone music. Still, as masters of subtlety, Ulver and Sunn O))) delicately mix a wide variety of instruments in one at a time: from moaning trumpet to bass that slowly snarls like a starving animal. There are overarching melodies hidden under the tension, primarily from a weeping violin. The track grows ever darker, like an evil premonition before drums provide the backbone to heavy blasts with now consistent bass. 

“Western Horn” is the most downright ominous track as it begins with twisted high frequencies that resemble the noise of a fly buzzing or perhaps a whistling teakettle. The malicious droning bass is punctuated by percussive hits as atmospheric tremolo guitar rises up from the darkness. The track becomes more and more fearful as the volume increases; and it could easily fit in as the score to an Alien film. The most notable moment is when the initial high pitched buzzing becomes just deep enough to sound like the uncomfortable wails of a human or animal. 

“Eternal Return” is the final track: at just over 14 minutes, it is the most stereotypically post-rock sounding piece, drawing comparisons with early Godspeed You! Black Emperor. The guitars are clean and shimmering as their melodies are sprinkled over the carefully twisting string movements. The whole piece exudes a sense of desperate yet vaguely hopeful unrest. The most puzzling decision is made when a clear synth melody forces the song to rearrange and dissolve itself, making way for overly-dramatic vocals. The voice and simple synth melody get points for their brazen direction, but it does more to clash with the preceding tone than anything else. After this out of place inclusion of singing, the music attempts to cover up what just happened by returning to its moody atmosphere, but the damage has already been done. 

Terrestrials is on the cusp of being something great, but it falls victim to the circumstances of its creation: it is a mostly improvised record, conceived on a whim when the bands had time together. That said, it is impressive that this pairing can create such a soundscape on a whim- it just doesn’t do much to keep anyone deeply engaged.