Kannon is the seventh full-length studio album by drone metal band Sunn O))). All tracks written by Greg Anderson, lyrics by Attila Csihar. Produced by Sunn O))) with Randall Dunn Engineers: Randall Dunn, Jason Ward Assistant Engineer: Mell Dettmer Art direction: Stephen O'Malley Cover art: Angela Bolliger, photographed by Robyn Vickers, text by Aliza Shvarts Band portraits: Estelle Hanania Stephen O'Malley – guitars Greg Anderson – bass guitar, additional guitars on tracks 2 and 3 Attila Csihar – voice Oren Ambarchi – additional guitars and oscillator on tracks 1 and 2 Randall Dunn – Korg MS-20 on tracks 1 and 2 Steve Moore – Juno 106 on track 2 Brad Mowen – concert bass drum on track 2 Rex Ritter – Moog on track 2 Dempster and Moore – conch trioCredits adapted from official marketing text
Candlewolf of the Golden Chalice
Candlewolf of Golden Chalice is an EP by Sunn O))). It was the band’s first and only Peel session, although it was recorded and released after the death of John Peel, it aired on December 21, 2004, on BBC1 and was released on vinyl on tour in 2005. Stephen O'Malley – Guitar, harmonium Greg Anderson – bass, Moog synthesizer Rex Ritter – Moog synthesizer Edwin Pouncey - Tamboura Tony Sylvester – harmonium, sruti box
Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time, it has been contrasted with classical styles. The term originated in the 19th century. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music; this process and period is reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has not been applied to the new music created during those revivals; this type of folk music includes fusion genres such as folk rock, folk metal, others. While contemporary folk music is a genre distinct from traditional folk music, in U.
S. English it shares the same name, it shares the same performers and venues as traditional folk music; the terms folk music, folk song, folk dance are comparatively recent expressions. They are extensions of the term folklore, coined in 1846 by the English antiquarian William Thoms to describe "the traditions and superstitions of the uncultured classes"; the term further derives from the German expression volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Though it is understood that folk music is music of the people, observers find a more precise definition to be elusive; some do not agree that the term folk music should be used. Folk music may tend to have certain characteristics but it cannot be differentiated in purely musical terms. One meaning given is that of "old songs, with no known composers", another is that of music, submitted to an evolutionary "process of oral transmission....
The fashioning and re-fashioning of the music by the community that give it its folk character". Such definitions depend upon " processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of, found not only in the lower layers of feudal and some oriental societies but in'primitive' societies and in parts of'popular cultures'". One used definition is "Folk music is what the people sing". For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was "...seen as the authentic expression of a way of life now past or about to disappear" in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and stratified societies.
In these terms folk music may be seen as part of a "schema comprising four musical types:'primitive' or'tribal'. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award used the terms "traditional music" and "traditional folk" for folk music, not contemporary folk music. Folk music may include most indigenous music. From a historical perspective, traditional folk music had these characteristics: It was transmitted through an oral tradition. Before the 20th century, ordinary people were illiterate; this was not mediated by books or recorded or transmitted media. Singers may extend their repertoire using broadsheets or song books, but these secondary enhancements are of the same character as the primary songs experienced in the flesh; the music was related to national culture. It was culturally particular. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion.
It is conspicuous in immigrant societies, where Greek Australians, Somali Americans, Punjabi Canadians, others strive to emphasize their differences from the mainstream. They learn songs and dances that originate in the countries their grandparents came from, they commemorate personal events. On certain days of the year, such as Easter, May Day, Christmas, particular songs celebrate the yearly cycle. Weddings and funerals may be noted with songs and special costumes. Religious festivals have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding, unrelated to the aesthetic qualities of the music; the songs have been performed, by custom, over a long period of time several generations. As a side-effect, the following characteristics are sometimes present: There is no copyright on the songs. Hundreds of folk songs from the 19th century have known authors but have continued in oral tradition to the point where they are considered traditional for purposes of music publishing.
This has become much less frequent since the 1940s. Today every folk song, recorded is credited with an arranger. Fusion of cultures: Because cultures interact and change over time
Drone metal or drone doom is a style of heavy metal that melds the slow tempos and heaviness of doom metal with the long-duration tones of drone music. Drone metal is sometimes associated with experimental metal; the electric guitar is performed with a large amount of reverb or audio feedback while vocals, if present, are growled or screamed. Songs lack beat or rhythm in the traditional sense and are very long; the experience of a drone metal performance has been compared by novelist John Wray in The New York Times to listening to an Indian raga in the middle of an earthquake. Wray states, "It's hard to imagine any music being heavier or, for that matter much slower." A pioneer band of drone metal called Sunn O))) has indicated a kinship with sound sculpture. Jan Tumlir indicates a "sustained infra-sound rumble of sub-bass—so-called brown noise". Stephen O'Malley from Sunn O))) collaborated on an installation with artist Banks Violette, who has likened drone metal to the work of Donald Judd. Tumlir locates a precedent in Robert Rauschenberg.
Violette points out, that drone metal is "as much a physiological phenomenon as an acoustic one", with an attendant physicality. O'Malley has mentioned an appreciation for Cormac McCarthy and Richard Serra. Rhys Chatham's Essentialist included projections by Robert Longo. Jim Jarmusch's 2009 film. Jarmusch said, "I love these kind of visual landscapes they make, they inspired things for me for my film... because when I write I'm listening to things that inspire me in the direction of whatever world I'm imagining. Boris and Sunn O))) and Earth were instrumental in me just finding a place in my head." Drone metal was first established by Earth, a group from Olympia, formed in 1989, described as "minimalist post-grunge". Earth took inspiration from the sludge metal of Melvins and the minimalist music of La Monte Young, among other sources. Stephen O'Malley's group Burning Witch, formed five years also in Seattle, continued in this tradition, incorporating unusual vocals and bursts of audio feedback.
The group recorded for the prominent powerviolence label Slap-a-Ham. O'Malley's subsequent group, Sunn O))) formed as a tribute to Earth, is most responsible for the contemporary prominence of the drone metal style. Godflesh is a stated influence on many groups. Boris, from Tokyo developed a style of drone metal, parallel with the Seattle groups, as did Corrupted, from Osaka. Nadja, Jesu, Black Boned Angel, Ocean, Growing, KTL, Ascend and Eagle Twin, Teeth of Lions Rule the Divine and Moss are prominent drone metal groups that formed in the early 21st century. Noise musicians, such as Kevin Drumm and Oren Ambarchi, have worked in the style. Rhys Chatham's Essentialist project is a contribution to drone metal by an elder composer, attempting to "arrive at an a priori essence of heavy metal, reducing it to a basic chord progression". Avant-garde jazz Japanoise Noise rock
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
Attila Csihar sometimes known as Void, is a Hungarian extreme metal vocalist, best known for his vocal work in Norwegian black metal band Mayhem and American drone-doom project Sunn O))). Author Ian Christe describes his vocals as "operatic." His music career began in 1985 in the Hungarian metal band Tormentor, which reached cult status in black metal circles with their first album, Anno Domini. On the strength of his work in Tormentor, he was invited to perform vocals on the De Mysteriis Dom Sathanas album by Norwegian black metal band Mayhem after then-vocalist Dead committed suicide; when Csihar first joined Mayhem, he was "grossed out" at dead animals on stage. Csihar, who stated in an interview with the magazine Revolver that he, being a vegetarian at the time, conceded, "I was freaked out myself... Like, fuck, I don't know if I want to do this." After Mayhem, Csihar continued to work in various bands, such as Plasma Pool and Korog. He performed in Keep of Kalessin as well, he is considered a shadow member of the American doom/drone metal band Sunn O))).
He has recorded five full-length albums with the group, including the most successful Monoliths & Dimensions, performed live with the band on their worldwide tours. In 2004, Csihar rejoined Mayhem after the departure of the band's previous vocalist, their 2007 album, Ordo ad Chao, won the Spellemannprisen. Since the band has embarked upon intense international touring, he has joined Greg Anderson of Sunn O))) and Oren Ambarchi in a project called Burial Chamber Trio, in another project, Gravetemple with Stephen O'Malley of Sunn O))) and Oren Ambarchi. Since 2007, Csihar had been hiring Egyptian artist Nader Sadek to create masks for his live performances, both in Sunn O))) and Mayhem. Csihar has worn Sadek's masks on tours. Additionally, Csihar invited Sadek to create an installation as a set for Mayhem's 2009 summer tour BlackenedFest. Csihar started his solo act in November 2008, called Void ov Voices; the group's live performances have been in support of artists like Ulver, Bohren & der Club of Gore, Lustmord and Diamanda Galas.
He performed at "The Grand Reincarnation" Of Paul Booth's Last Rites Tattoo Theatre. He has collaborated with such artists as Current 93, Dissection, Taake, Toby Knapp, Banks Violette, Nader Sadek, the artist behind Csihar's masks with Sunn O))) and Mayhem. In 2016, Csihar joined, he would perform lead vocals alongside Sean Zatorsky of Dååth, with DragonForce bassist and group founder Frédéric Leclercq and Loudblast guitarist Stéphane Buriez on guitars, Seth guitarist Heimoth on bass, former Slipknot drummer Joey Jordison on drums. The band released its debut album Echoes of the Tortured on July 29, 2016 via earMUSIC. Outside of music, Csihar graduated as an electrical engineer from a technical college, used to be a private teacher of math and physics, he worked in film production, most notably on Tony Scott's Spy Game, where he was the first assistant of production designer Norris Spencer. The Seventh Day of Doom Anno Domini Recipe Ferrum! De Mysteriis Dom Sathanas Mediolanum Capta Est Ordo Ad Chao Esoteric Warfare De Mysteriis Dom Sathanas Alive I II – Drowning III – Sinking Kali Yuga Bizarre Fire Walk with Us!
With No Human Intervention Generator The Ultimate Death Worship Korog The Beast of Attila Csihar 777 When Fire Rains Down from the Sky, Mankind Will Reap As It Has Sown Eschaton Reclaim Scattered Ashes Glory and Perdition White2 Oracle Dømkirke Monoliths & Dimensions Kannon Demonized Burial Chamber Trio The Holy Down Ambient/Ruin Impassable Fears La Nuit 6°Fskyquake Mahakali Skandinavisk Misantropi In the Flesh Empire of Pain Wars of the Roses Divarise 2014Divahar is an all-female symphonic black metal band from Yerevan, Armenia. Drag You To Hell 2015 Echoes of the Tortured Ashes Repulsion for Humanity Attila Csihar at Southern Lord Official Mayhem Website
Flight of the Behemoth
Flight of the Behemoth is the second album by Sunn O))). The band collaborated with the Japanese noise artist Merzbow, who mixed tracks 3 and 4, used drum machine and vocals on the track "F. W. T. B. T.", an interpretation of Metallica's "For Whom the Bell Tolls". While the band did try to follow the original structure and riffing of the song, the intent was not to copy the original, but to rewrite the song for themselves. Bandcamp Bonus Tracks Aspirin Feast – drums on "F. W. T. B. T." Bootsy Kronos – bass guitar on "F. W. T. B. T."