London
28 October 2019
The SunnO))) juggernaut rolls into London for the first time since their triumphant show at The Barbican in 2017. A quick glance at the stage after arriving confirms that Stephen O’Malley and Greg Anderson — the core members of SunnO))) since forming in 1998 — have not mellowed with age.
The now-familiar columns of vintage Sunn Model T, Hi-Watt and Ampeg amplifiers are stacked impressively high and wide across the Roundhouse stage, reminding us of the sheer volume and physicality that we come to expect from the SunnO))) concert experience. As ever, it is an awesome sight to behold, and no doubt has most of the audience obsessing over whether or not it will be louder than the last SunnO))) gig they attended.
“Stacked high and wide” is a term that can also be applied to the merchandise area, chock full of so many SunnO))) purchasable items that the support act, Anna von Hausswolff, has to settle for a makeshift table near the bar to sell her wares. My guess is that this ever-expanding range of merchandise, from £25 T-shirts to a £300 guitar pedal, as well as the usual patches, badges, vinyl, etc, is now so large that it no doubt requires a separate van of its own (the other for vintage gear, obviously) to be transported around the country. The band have successfully applied a strong branding to their overall image and the never-ending queues of fans with their credit / debit cards out at the ready, eager to part with some serious cash, suggests that this is an extremely lucrative sideline. Anna von Hausswolff, opening, attracts a considerable crowd thanks to her ever-increasing profile, accelerated recently as a result of her impressive contribution to the latest Swans release, leaving meaning. She is a hypnotising presence, leading her band through two new menacing songs with looped, dissonant vocals and almost tribal-like drumming. Slinging a Les Paul over her tiny frame for some serious whammy-bar action on “The Mysterious Vanishing Of Electra”, she is vocally impressive as ever, sounding like the crazed offspring of Kate Bush and Elizabeth Fraser.Suitably warmed up, the crowd now wait the inevitable onslaught of SunnO))). The pre-gig ritual, which veteran attendees of these concerts are used to, begins. Amplifiers are switched on to warm up in standby mode, a sea of red and orange lights lighting up the stage as the members of the band, dressed in their day clothes (ie no robes), appear on stage to do a pre-gig line / sound check of sorts, at a reduced volume level. And let’s not forget the dry ice… As is customary, the machines are on, bellowing smoke, and before we know it the entire Roundhouse is enveloped in a thick fog, the stage pretty much hidden, adding to the sense of menace.
Shortly after, in the silence, we can just about make out the robed figures appearing before we wait patiently for that first, insanely loud rumbling chord that just perfectly typifies the overall SunnO))) sound, that completely unmistakable OMMMMMMMMM rumble. There are the inevitable jokes and laughter to break up the quiet, almost ridiculously absurd tension, the usual “ONLY DEATH IS REAL!!!!” scream being a welcome addition that never fails to have me giggling. The whole thing borders on the ridiculous, and I’m coming to believe that the band are well aware of the slight absurdity of their live performances.The OMMMMMM makes its appearance and we all settle in for the ride. The volume is insanely loud, although not unbearably so, sub-bass from the vintage stacks and the Moog synthesizer reverberating throughout my entire body and the floor. It’s what we’ve all come for, to be enveloped in the sheer physicality of the sound. We begin to make out the participants, those being the core duo of O’Malley and Anderson, accompanied by Tim Midyett (bass) as well as regular collaborators Steve Moore (trombone) and Tos Nieuwenhuizen (Moog).
Recent SunnO))) performances have always included Attila Csihar on vocals (and insane costumes), but unfortunately he is not present, most likely due to touring commitments with his other day job as vocalist for Mayhem. It turns out to be quite a loss, his vocal gymnastics, often including Tuvan / Mongolian throat singing, would often provide a respite from the sheer onslaught of the drone. This would allow the show something more with regards to structure, which is sadly missing during this performance. However, we do have a quieter section where Moore plays a mournful trombone piece over O’Malley’s softly strummed drones.
The show winds down after the hour and forty-five minute mark, which is quite a stretch for even the most hardcore fan, and guitars are placed on top of amps before the customary synchronised switch-off. However, after the applause dies down, something strange happens. Nieuwenhuizen, still parked behind his Moog, begins to play again and before we know it the dry ice is back, as is the OMMMMMMM, the lights are dimmed and we have something that can be described as a SunnO))) encore of sorts.Stretching out well over twenty minutes, and no doubt going over the allotted time at the Roundhouse, it’s more of the same but a fun way to end the evening. Anna von Hausswolff joins as an honorary SunnO))) member, dressed in robes, and proceeds to lie on the stage for the duration. One can only imagine how it felt to bask in the centre of such a tornado of sound.
-Words: Stuart Low-
-Pictures: Dave Pettit-
