SUNN O))) Live at the Palace Theatre 10/06/2026

by

0

We spent the night getting our atoms rearranged by SUNN O))) at the Palace Theatre in St. Paul.

We arrived early and wandered around the theatre a bit, picking up a killer t-shirt along the way, before finding our centralized balcony seats. We were lucky enough to have two of the only three seats in our truncated row right by the balcony entrance all to ourselves, all part of the strategy. While we waited for openers Stebmo (Steve Moore) and Bill Herzog to begin we were treated to some blistering free-jazz being blasted over the PA in front of us, and two guys talking non-stop about video games and how they were planning out their next year of traveling far and wide to other various metal and rock shows. Considering this was going to be our one “big trip” 250 miles south from home in Duluth this year, I could not relate.

Eventually the car crash jazz faded and the lights dimmed and the duo of Stebmo and Herzog took to the stage. Their set was unexpectedly brief, a total of three songs, the last very short, as well as an extended lecture after their first song to talk about the nature of music and how it brings us all together. Which was fine but I really would have rather heard more of their entrancing music. Herzog played an upright bass and Moore moved between a Rhodes with some effects and a looper, a smaller portable keyboard (that might have been the Casio SK-1 I’ve seen in other photos but I’m not sure) and a trombone (and I may be forgetting something here, old brains). Herzog played the bass strummed, bowed, and as a percussion instrument while Moore provided dreamy, rounded off twinkles and waves of light, lush melodies. As mentioned, could have used some more of that.

After their set we were once again invited to listen to the sounds of a four dimensional jazz blender until once again the lights went down. But instead of the expected rumble from SUNN O))) we spent a few minutes listening to a live recording of a Venom show, edited down to just the banter from frontman Kronos who had died just a few days before. This was unexpected, but not surprising considering that band’s early influence on SUNN O))) and the fact that their newest self-titled album includes the track “Does Anyone Hear Like Venom?” Kronos’ energetic, gravely voice blasted out over the theatre while the fog machines also began to fill it with smoke. The relentless barrage of his barking voice followed by brief snippets of the band thundering into and immediately out of songs eventually ended, giving way to a protracted moment of silence.

Then SUNN O))) began to play.

For the unfamiliar, the sound and presentation of a live SUNN O))) (in this iteration is was founding members Greg Anderson & Stephen O’Malley) performance is, to put it simply, maximally minimal. It is the most you will ever hear while also being very tightly focused, and this includes the visuals. To start with, the backline is a curve of towering SUNN amps and speakers, like a pagan circle of upright stone slabs. There is next to no stage lighting, instead they rely on a few back and side lights illuminating the massive amounts of fog pumped out of insanely huge fog machines to the sides of the stage. The all-encompassing guitar tones and shape obliterating fog combine to remove all sense of place, suspending the listener a boiling void.

In the beginning, there was a single bright white light high above the center stage. This light also had some sort of air intake that slowly vacuumed up the fog, which had the effect of creating a wide halo of undulating clouds that very much looked like the end of the universe was happening right in front of us. A black hole sun taking back all that it had given. All of this was happening while the guitar duo proceeded to make the entire building vibrate. The extended tones would drift in and out of harmony, rumbling the foundation before piercing our skulls. Over and over, unrelenting, until maybe thirty plus minutes in (what was time, do you remember time?) it was quickly silenced, the lights went out, and the dazed crowd slowly began to cheer.

(Note: Hearing protection. It’s not strictly mandatory in order to attend a SUNN O))) show, but it should be. We went in with industrial grade foam inserts and they did a fantastic job. I was actually a little surprised at how low the volume was…until I was shaking out of my seat. Some people also had additional over-ear protection. Do not fuck around with this if you plan to go.)

This quickly led to the start of the second set which to my ear was very much like the first (not a complaint.) Eventually for the final few minutes the guys seemed to abandon any attempt at “musical” sounds and instead let their pedals take over (I assume, as I couldn’t see anything happening on the blackened and fog blanketed stage) with an extended and persistent chaotic rumble that again felt like a universe was either being created or coming to an end. I have never in my fifty years been exposed to such a relentless pummeling cacophony. Not a wall of noise like something in a Merzbow performance, this was more primal and Of The Earth. Simultaneous creation and inhalation, a matter pulverizing churn that would not be denied. It lit my brain up and I truly hoped it would never end, but after what felt like ten or so minutes (again, what is time) the energy began to disperse and very slowly quieted to a whisper. Again the crowd slowly awoke from a hypnotized state and stood and cheered while the guys took their bows.

If you have never been to a live SUNN O))) performance and if it is something you think you might enjoy, I absolutely recommend it. Do not miss. You do not even need to have much familiarity with any of their music. This is entirely about the experience. I was so happy to see that they were making a stop so close to home and I was among the first on the site when tickets went live (see above seating success). It really was a night of contrasts, each wonderful in their own right. Together it was a fantastic and unique experience that will not be replicated.

The Electric Witch – NAZI PUNKS FUCK OFF / THE ORDER OF DEATH

by

0

The Electric Witch returns with double single NAZI PUNKS FUCK OFF / THE ORDER OF DEATH. Both are technically cover songs, though they explore territory very different from the originals. “Nazi Punks Fuck Off (TEW),” originally by The Dead Kennedys, is a slow yet emphatic synth dream while the newly remastered “The Order of Death (M.A.R.K-13)” (by Public Image Ltd and originally released in 2019) is a churning industrial maelstrom.

Everything by Zac Bentz. Recorded and designed at Puffin Sound.

“Nazi Punks Fuck Off” originally by The Dead Kennedys
“The Order of Death” originally by Public Image Ltd

Read It: MONSTERS IN THE ARCHIVES by Caroline Bicks

by

0

I went into this book hoping to get a detailed look at Stephen King’s writing process, something he’s spoken about only a little throughout his carrier, mostly in his book ON WRITING. What I got was…mixed. Caroline Bicks’ own writing feels a lot like King’s: clear, to the point, and illustrative. But often Bicks frames King’s work by relating it to her own life story when I felt more of that time could have been spent charting King’s development over his own life. That is part of the book of course, but to be brutally honest I didn’t really care to learn so much about how Bicks first encountered and later revisited King’s books. But her passion and knowledge for the subject is obvious and appreciated. While I am a lifetime fan of King I fall squarely in the I’ve-forgotten-more-than-I-know camp when it comes to his older books.

She is also a Shakespearian scholar, a perfectly admirable pursuit. But often, very often, she approaches King’s work with Shakespearian-tinted glasses which sometimes totally miss the mark in conversation with King which is frustrating. It’s not a total waste of effort since King does go on to explain himself, but when that (already rare) conversation starts with him saying “No, but…” after pages of Bicks’ speculations in the wrong direction one wonders what could have been.

It’s wonderful to see the scans of the original typed manuscripts with corrections, strike outs, and often humorous penciled-in notes all included. Unfortunately all of these lose a lot of shine because they are reproduced at a strangely small scale and with very low contrast, sometimes making them unreadable. It’s a very odd choice considering those insights are exactly what I thought this book would be about. Often the text is just a re-writing of some of what’s in these pages. Why not just blow them up to a full page size and skip the re-writes? Again, frustrating.

All of these niggling criticisms aside there is a lot for long time fans to learn and maybe come to realize for the first time, like King’s heavy use of rhythm in the words he chooses to use (often against his editor’s wishes) in tense moments, how he writes the way people, often children, would really say certain words, and how often he’s not thinking about Shakespeare. Getting a literal look into his archives and how they operate is also something special. In a perfect world we all would have that kind of access and all the time in the world to pour over the most minute variances from first draft to final. Maybe a publisher like TASCHEN could make this happen. I know I’d throw money at it.

*One very interesting fact I learned is the short story that would become CHILDREN OF THE CORN was first titled NEBRASKAN DEATH TRIP. It’s wild to think that might have stuck as the title of what went on to become shorthand when talking about weird little kids. However, Bicks neglects to make the connection to another book called WISCONSIN DEATH TRIP published right around the time that King would have been working out CotC. I will let you, constant reader, look into that one, but it’s definitely a book that would have been on King’s radar and I am certain it is where he got the working title from.

LISTENING: Gareth Davis & Merzbow – BROKEN LANDSCAPES

by

0

It’s been a long time since I’ve been able to actually listen to anything by the Japanese noise god Merzbow. I feel like, for the most part, once you’ve heard his work you’ve heard it. The one exception has been his live collaboration with Pan Sonic, and now this new colab with Gareth Davis. Especially on the third longer piece “Inland Empire” where non-stop but closely-tuned tones form a foundation for Merzbow’s surprisingly muted electronic screams and grinds to exist as much more discreet mirco moments, each distinguishable as their own brief scenes.

LISTENING: Ital Tek – MIND ABANDON

by

0

Been listening to the new album from Ital Tek a lot. It’s big, dark, and full of machines clacking around while massive bass swims underneath and pads echo overhead. “Kill Switch” is a relentless, stomping beast, the one I keep coming back to most.

The video below is a fascinating look into his studio and his process of making some of his unique, organic sounds using voice, odd instruments, and a few effects.

READ IT: GODZILLA and GODZILLA RAIDS AGAIN

by

0

Read the (somehow) very first English translation of the first two Godzilla novels, GODZILLA and GODZILLA RAIDS AGAIN. Originally written in 1954 by Shigeru Kayama who was also one of the original films’ creators. The novelizations came immediately after the films we shown in an effort to further capitalize on their massive success.

As such they read a lot like one might describe the films as they play out on screen. There is very little in the way of additional character development or lore. It’s mostly: People in a boat are having a good time. Godzilla shows up. People freak out. Godzilla smashes some stuff. Bang! Zoom! Crunch! And goes away. People worry about him coming back and what they can do to stop him. Godzilla comes back and messes more stuff up. Whoosh! Zoom! Kablammo! Now the people really need to do something and say so over and over until a very unlikely solution suddenly appears and Godzilla is defeated, the end, we will not be taking any further questions.

Sure, there is a bit more depth than that, but if you’re going into these books in the hopes of really getting to know the “why” and “how” of Godzilla, you won’t find it much beyond “bombs did it.” Which is fair.

As far as I can tell the translation is great, and in fact translator Jeffery Angles’ afterword commentary was the highlight for me. He goes over a bit of Kayama’s early history, the making of the films, the writing of the books, and Kayama’s own feelings about Godzilla’s success overall. Considering that Kayama doesn’t have his own Wikipedia entry (in fact the entry for this book has far more info about him than you can easily find elsewhere) this might be the only place to find this information in English.

Side note: This was published by the University of Minnesota Press who also published the nearly award winning cookbook I had a part in bringing to life.

(Opening page. An example of understatement.)

ACQUIRED: Electronic Sound Issue 138 (Squarepusher)

by

0

Received the new issue of Electronic Sound magazine featuring Squarepusher which also (optionally) comes with an exclusive 7″ white vinyl record with two previously unreleased Squarepusher recordings.

First, the feature interview comes from The Quietus’ John Doran, a fact I was unaware of going in and delighted to find out since his work is always 1) enlightening and 2) often darkly hilarious. This plays out in the very first paragraphs as Doran recounts that one time he found himself jamming with SP (aka Tom Jenkinson.) Because of course he did.

While the feature is on the extended side I could have easily read much more as Doran provides an easy to follow through-line to much of Jenkinson’s deeply obsequious discography, adding insight into Jenkinson’s creative process and life in general, and specifically SP’s newest album Kammerkonzert.

Second, the record. After reading the decsription on the ES site I had a pretty good idea of what it would be, and was not disappointed. Two extremely minimal tracks featuring a few pure sound waves weaving in and out, droning with both a sense of dread and a searching inquisitiveness. Exactly the kind of thing you’d throw at a magazine looking to blag something special for the trainspotters (ahem.)

Of course this is just one feature in an almost 100 page magazine. And what a high quality production it is! This is my first encounter with the physical specimen and I can tell you it’s extremely high quality. Taking it out of the cardboard mailer felt more like revealing a book than a typical magazine (even ignoring the record stuffed inside.) “Thicc AF” comes to mind. Anyway, it’s filled with much more to discover (I was listening to the record while reading the story of Gentle Hum, a colab between Ah! Kosmos and friggin’ Hainbach!, and was happy to see a review of the new BoC), reminding me of the olde days of picking up a UK music mag at Barnes & Noble and reading it cover to cover over a swimming pool sized mocha at their coffee shop before putting it back on the shelf. In this case the lavish production lends weight (literally) to the words within and I will definitely be on the lookout for future issues.

(Cat for scale.)

All Intents

by

0

a concrete blockade painted yellow with red lettering saying no dumping and two boy/girl stick figures painted blue
photo unrelated

Imagine me nodding more and more intensely while reading Cory Doctorow’s thoughts about Brian Eno’s and Bette Adriaanse’s thoughts about “what art is.” I especially resonate with his refinement that “Art is intended to make other people feel something” and that AI is incapable of intent and therefor cannot create art:

Until recently, we weren’t accustomed to encountering coherent strings of words or polished images that had no intender, so we imputed the existence of that intender to them, and we did what we always do when we encounter a work of art: we tried to mentally materialize a facsimile of the feeling the artist experienced while creating the work.

Because the intention of these works was so dilute, we ended up hallucinating an intent.

My art (some call it “music”) is most often “abstract.” I am the only intended audience, so one could argue that everyone else listening is equally bereft of my inner intent. I do sometimes try to nudge listeners with suggestive song or album titles (“Field Recordings from the Edge of Hell,” “More Fire in More Places,” “The Pier Mourns the Wreck,”) but many are also just me having fun with words (“Squid Crow Pro,” “Eraseface,” “Strange Rangebow.”

As I say in my Bandcamp bio, I’m “creating space through sound.” That space is entirely in the mind of the listener, and what inhabits that space is also entirely the in the mind of the listener. That’s my only explicit goal, to take the listener from where they are to somewhere else. To “make other people feel something.” What the listener experiences there is not my fault, I only facilitate it. Does it make you sad? Good. Bored? Good. Transcendent? Good. Want to write 100,000 words about what really lurks behind the veil of time? Good.

Essentially, all I am doing is asking one question: “How does this make you feel?” The only wrong answer is “nothing,” because I know, as one human to another, that’s not true.

(Slightly expanded from my original Bluesky thread here.)

ACQUIRED: Boards of Canada – INFERNO

by

1

It’s been out for less than a week but it already feels impossible to add anything about the new Boards of Canada album that hasn’t already been said. I can say that I love it and that I think it’s a masterwork. The artwork and packaging of the 2x LP is beautifully done, and the extra hexi-flexi disc with its mysterious provenance and forward/backward single track was a complete surprise.

INFERNO feels to me like a culmination of all of their past output, produced in a less cosy/nostalgic mode and more like a confident, focused work that’s not afraid to walk in the sunlight. But like the best of David Lynch’s work, sometimes the sunlight can make truly evil things all the more haunting.

I’ll leave it up to you as to whether or not you want to dig deeper. You certainly do not need to. But the meanings and connections are there for those who want to grab a map and a shovel and start digging.

OK, there was one imperfection that I just had to fix…the obviously terrible kerning…