ALBUM REVIEW: Skáld – Huldufólk


Steeped in Nordic mythology, France’s Skáld draw extensively on traditional folk music and employ the Old Norse language for many of their lyrics. Huldufólk (Decca / Universal Music) is the group’s fourth full-length release and is themed around the subject of its title: huldufólk, or “hidden people” is the name given to the mythical beings — elves, dwarves, trolls — that populate Nordic folklore. Moreover, according to the press release accompanying this record, the work honours “an entire people in whom many Scandinavians still believe”.

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Sunn O))) – Kannon


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It’s a staggering yet frequent reoccurrence: the hardest music to explain, often due to an apparent lack of infectious hook or because of the fact that little is actually happening, sees its orchestrators revered with an almost pathological devotion. Such is the case, of course, with US Drone gods Sunn O))). An overwhelming crush of Ambient noise, their worshippers hang onto every note, every sparing chime, as if it were a word from the heavens: their live shows remarkable for an inhuman level of sonic pain; each new recorded output more of an event, an experience, than a mere album or EP.

Latest full-length Kannon (Southern Lord) evolves in three movements, the first a sequence of pedal-strewn, cosmic, soaring chords. Greg Anderson and Stephen O’Malley take turns in expanding the eerie yet soothing soundscapes whilst positively terrifying guttural sounds emanate from the mouth of Mayhem’s Attila Csihar. Save for the brief introduction of didgeridoo and the atmospheric air coursing through this fifteen-minute opener, not much else of note occurs: yet it is inexplicably euphoric, haunting, muscle tightening; a spiritual epiphany which the guys conduct with almost superhuman understanding and control.

The opening chords of ‘Kannon 2’, just as economical, are nevertheless more ‘fuzzed’ and allowed to howl over an almost undetectable bass resonance. Chilling chants are intoned across a throbbing, fulminating body in an almost mournful yet Zen-like expression of emotion: an overtone of synthesised harmonics adding a barely recognisable sense of intrigue to an already hypnotic, captivating sound.

If ‘…2’ is the lament, ‘Kannon 3’ is the grave ascension. A similar structure sees that minimalist riff spike and clash with horrific anger, whilst the chanting bass voices become more sinister yet, paradoxically, reverberating to the verge of messianic celebration: a triumphal, fearful tribute to a returning, victorious tyrant. The intermittent Blackened roars, terrifying yet beatific, are both the counterpoint and the embodiment of the ability to stir and surprise while retaining control of an almost unbearably slow pace.

Masters of their sphere, legends of the galaxies, Kannon sees Sunn O))) display every shimmering ounce of their resplendent power.

 

8.0/10

 

PAUL QUINN

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