16 11 2006

The Master & me


15 11 2006

Hey check this out:



Lead story at pitchfork today – so you’ve probably already heard, but we wanted to congratulate you ourselves. Picked from a pool of your peers, you beat out a large number of amazing candidates. This year’s ballot is the strongest so far and we are happy that you are a part of it.

So for those who haven’t heard...we wanted to give everyone a heads up – 3 nominations for Southern Lord in this year’s PLUG Independent Music Awards. The music community has shown overwhelming support for these artists and the contribution you and they all made this year to the independent music world.

Now it's all up to your fans, who will be voting through January 27 at http://www.plugwards.com. They pick the winners each year and we announce them at the PLUG Awards show in NYC each February, the big event this year is planned for Feb 10 @ Irving Plaza – our line will be announced very soon.

Thanks and congrats!

greg | PLUG

Link is here to see the ballot and this year’s nominees: http://plugawards.com/general_vote.php

Metal Album Of The Year
Boris “Pink”

Metal Album Of The Year
SunnO))) & Boris Altar

Avant Album Of The Year
SunnO))) & Boris Altar



Amazing. I listened to "Drift" last night and it floored me. Again. Love it.

14 11 2006


13 11 2006



Rare photo from the "Moog Ceremony" concert at AB / Domino Festival in Brussels April 06. 7 SVT bass stacks + Moog Rogue, Taurus and Minimoog & Gong + vocals via Atsuo and Cope. pic: Koen Jacobs

13 11 2006


Altared Course: An Interview With Japanese Sludgemasters Boris

Posted by Kory Grow Monday, October 30th, 2006

Tomorrow, on Halloween no less, one of Japan’s most renowned psychedelic dronesters, Boris, will release their collaboration with US low-end titans SunnO)) called Altar (Southern Lord). When I interviewed the latter’s guitarist Greg Anderson for a feature on the collaboration in CMJ New Music Monthly, Boris were touring abroad and unreachable for an interview. When they got back to Japan, drummer/vocalist Atsuo took some time to answer my questions about the collaboration. Because he speaks very little English (a theme that supplemented the improvisational nature of the album), his manager translated the interview for us in an email. Although there are grammatical and syntactical errors throughout, I’ve decided to leave the text the way it came to me, to keep it true to the sentiment, which was another theme throughout Altar. Enjoy!

How did the idea come about that you would collaborate with SunnO))?

That was live in London in 2003. They were a relationship from equal to or more than 10 years before but as for attending their show, it was the first time. Talks about whether or not we don’t attempt to make together with Stephen [O’Malley, SunnO))’s other guitarist] from me at the time of the tour about something. Then, talk about the image on the volcano, which Stephen calls “Etna” with the email and so on to me and by the quite early step, a title, Altar, was decided.

What kinds of musical ideas did you trade between the bands?

We talked about the wonderful music. We were attending each activity. Those informations and images of each other for more than 10 years influenced our work. We didn’t bring special musical ideas from Boris side. Because we think that the music is born in the selfishness of it, the composing methodology isn’t too important to us. Only by Greg’s being preparing about two riffs. Later, being naturally, the music was born. Specifically, if saying that it prepared, prepare gear to be usually using. Because of course, we take pedals huge each time from Japan and the pedal case of Wata is as heavy as 20 kg. In addition to it, she is using two large echoes. Though she can’t carry it by herself, hahaha. There was best environment for us, SunnO)) and of the engineer, Randall supported us about the amplifier and to make a sound.

Did you have a clearly defined goal of how you wanted the recording to sound?

We didn’t have at all. As the earlier speaking, each other, the music is born from the improvisation. There is not a feeling “controlling” music. We play as music want to be born.

What’s the main difference between recording with SunnO)) and playing live with them, as you did a couple months ago on your US tour?

I played on the stage as a guest member of SunnO))) several times. The difference between them are there is audience in front of us or not. The power of the audience becomes the power of the player. We feel that the whole venue feeds back and is amplified that energy in the place.

How was collaborating with SunnO)) different from your other collaborations in the past with Merzbow and Keiji Haino?

Of course, they are different. It reflects a collaboration in the human relations of the player who participates in the place vividly. Because sometimes flow of the relationship and each activity influences even if it is the same member. This time, we were asked if we had a language problems in collaborating with SunnO))), but we think it was good that we couldn’t communicate enough by language. Originally, the music is not a language and we imagine the mutual image to have with each other having kindness and plays. In music, the being of not speaking too much of the conversation to play is done even we play with Keiji Haino and Merzbow.

What is your favorite song on Altar and why?

To me, “The Sinking Belle.” It was born most naturally and the song was surprising to us at the same time. At first, we began with two, three codes played by Takeshi in the studio. As for the music, the thus thrill which cannot be estimated is very important to me. We were a wonderful experience. To boil in the ones which don’t well understand the bands which are called Boris in a variety of misunderstanding and obsessions and to become are very interesting. To answer your question, as I answered before, it came naturally and surprisingly.

Why did some of the songs like “The Sinking Belle” stray from metal?

Hahaha, As for us, we are not in the feeling, the metal band, at all. Because the label which is released is Southern Lord, we feel that that the such way of catching resembles and that it has become, and is interesting at the same time. The band not to think that is metal is told in the field of metal. We think that a variety of differences are born there and that the new implication, too, is born. Therefore, there is not intention “we are not a metal band,” and it undergoes influence by actual metal, too.

What do you remember talking about most while in the studio?

Like “Why doors of restrooms in the U.S. are always open?” and “Where am I now? Why am I here now?”

What is your favorite memory from working on the collaboration?

Before the recording Stephen asked us several times “Do you have any ideas?” and we always answered “nothing” and we laughed. They had two riffs and nothing else was prepared. Except bringing huge amount of gear.

What was the best part about collaborating with Jesse Sykes/Kim Thayil/Joe Preston?

Jesse gave the sense of distance, which is in us. To the music neutral distance. Kim has come to the every evening and has made a place delighted. Existence of Joe is very important to SunnO))) and Boris. If he was not, we didn’t meet. He is our important friend for 10 years. He was the consequential person and to be in the place.

How do you feel the album’s artwork reflects the music?

Stephen became a center this time and created an artwork but spun the time that this album of SunnO))) and Boris is made at the artwork as the documentary. The artwork functions as the collaboration with the different people who concerned us. We think Stephen is giving the silence before listens to the album to the listener by the design.

What does “Akuma No Kuma” mean? How does it relate to the song?

It means “Evil Bear,” to translating literally. The robot of a huge bear flies the sky slowly shouting, “Give me more salmon!” Of course, the manipulator is Joe Preston.

Where did you get your robes from for the photos? How did that come about?

When the show and the recording of SunnO))) start, they are always there. The robes for ourselves. As the equipment to start a ritual, it is indispensable.

Is there anything else I didn’t ask that you would like to add?

Yes. We are well told by the key word, which is called “Drone”. Drone is the simplest form of the music. The difference of one note to another causes a sound. It is the fundamental style of the music. Today, music is subdivided; most people don’t listen to the music. They listen to the type and they recognize a code, a melody, rhythm only.
Drone prompts audience to understand the structure to listen to real music. We think that it is needed now in the meaning, which retrieves such music. Therefore, we think that this “Altar” can become the ritual where the listener including the member, to retrieves music consequently. We want people to imagine the possibility of the relationship of the people and the possibility of the music, and enjoy it.

–from CMJ.com

13 11 2006


13 11 2006

Francoise Massacre vs SUNN O)))


Cartoon by Nagawika

13 11 2006





12 11 2006


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