“…a dense, suffocating track that builds and crashes, its buried vocals coming from under thick guitars and pounding drums…” — Decibel on “Appeaser”
Deads is the scorching new full-length from Copenhagen-based post metal collective LLNN. Produced by Jacob Bredahl and mastered by Tue Madsen, Deads is an erosive, abrasive, dystopian, apocalyptic monolith of monstrous dimensions.
In advance of its release, Decibel Magazine offers up the band’s “Appeaser” video — created by brothers Rasmus G. Sejersen (drums) and Ketil Sejersen (synths) — for public viewing. Writes the esteemed publication, “Musically, ‘Appeaser’ is a dense, suffocating track that builds and crashes, buried vocals coming from under thick guitars and pounding drums. The video accompanying ‘Appeaser’ is stunning, showing a collection of nature shots and more abstract patterns. It matches the expansive sounds that LLNN create.”
Adds the band, “We are fascinated by how the human mind tends to interpret random images, or patterns of light and shadows, as creatures and structures — a psychological phenomenon called pareidolia — and how music and visuals can evoke certain emotions in us and let our imagination unfold into abstract storytelling. These are the thoughts behind the music video and the album artwork of Deads [with photographs by Rasmus]. The overall album theme of Deads is about births and downfalls of civilizations in other worlds throughout the universe, from creation to final decay, the depletion of the host — scenes which inspired the music video. All the footage is filmed mostly with macro lenses to create the extreme close-ups in combination with a few wide shots.”
View “Appeaser,” courtesy of Decibel Magazine, at THIS LOCATION.
If you missed it, check out “Armada” below:
Deads will see release via Pelagic Records on April 27th on CD, 2xLP, and digital formats. For preorders in North America go to THIS LOCATION, in Europe go HERE, and in Australia go HERE. Fans of Neurosis, Cult Of Luna, Celeste, Isis, Godflesh, The Body, Botch, Breach, His Hero Is Gone, Love Sex Machine, and Converge, pay heed.
LLNN burst onto the international scene with 2016’s critically acclaimed debut album Loss, a sheer display of, “absolute raging rawness,” as Terrorizer put it. But there is more to LLNN‘s sound than that. “The wavering drone synths that are effortlessly merged with a raw, hardcore-driven darkness define the subtle idiosyncratic nuances of LLNN‘s very unsubtle, painfully overwhelming sound (The Sludgelord).”
After a split EP with Los Angeles’ Wovoka in the summer of 2017, LLNN returns with their sophomore album, Deads, which evades all the pitfalls of the sophomore slump. LLNN has now perfected the amalgamation of the stringed instruments section (bass, guitar) with keys player Ketil Sejersen’s dominant ’80s sci-fi movie-esque synth layers, which are inspired as much by composers like Brad Fiedel, Vangalis, John Carpenter, and Stanley Kubrick, as much as by sci-fi/horror games like Silent Hill, Dead Space, Halo, and Limbo. “Some of the synth sounds on Deads consist of recordings from everyday sounds transformed into eerie soundscapes, for instance the sounds of boiling water,” drummer Rasmus G. Sejersen comments. “We wanted the soundscapes to be a persistent and dynamic underlay of sounds that influence the music’s core and soul throughout the entire album, together with all the riffs, rhythms, and vocals.”
It doesn’t come as a surprise that this band triggers the interest of movie soundtrack composers like the award-winning Peter Albrechtsen, known for his work on movies like Dunkirk, Antichrist, and The Girl With The Dragon Tattoo. “As a sound designer for movies, I love when music feels like a sonic adventure. I’m obsessed with music that explores what sound can do to our body, to our mind, to our imagination. LLNN’s new album is one of the most overwhelmingly intense records I’ve heard in quite a while and the way it blends abstract ambient sounds, shattering rhythms and extreme noise is both hypnotic and powerful. The sense of sonic detail is staggering and for each spin I hear new elements, echoes, textures, and my mind gets new visual associations. Sometimes it feels like the soundtracks of Apocalypse Now and Eraserhead has been melted together and blasted through a ferocious guitar amp – these songs have both a sense of impending doom and an extraordinary combination of raw energy and gritty beauty.”
“…a seven-minute slab of dense and sludgy intensity that falls somewhere between the soaring apocalypse metal of Neurosis and the visceral crust-punk of His Hero is Gone, with some avant garde noise and dark ambient moments sandwiched in between. It’s a work of white-knuckle intensity that moves at slow speeds, ensuring that none of the heaviness gets lost as they take on more experimental textures.” — Treble on the track, “Armada”