Since their inception they’ve been making an unholy racket that takes post-metal, hardcore and moments of industrial to create visceral, oppressive soundscapes. Third album Unmaker continues in that proud tradition, delivering what is essentially the soundtrack to the end of the world.
Opener ‘Imperial’ sets the scene with an unsettling ambience and a grinding, sludgy riff designed to wear down and obliterate. The electronic elements only add to this, stabbing during the opening riff and creating tension through their presence elsewhere. The return of the opening motif towards the end hints at rumination on the cyclical nature of the universe and destruction. ‘Desecrator’ is similarly oppressive, howling vocals sounding like furious diatribes against the oncoming apocalypse that occasionally descend into cavernous roars.
Despite its grinding, oppressive nature that doesn’t mean it’s bereft of memorable moments. The main riffs in both ‘Obsidian’ and ‘Interloper’ are both standouts; the latter in particular brings in a yearning, almost mournful melody that still feels as if it’s seething with rage. The band aren’t merely heavy, though they do clearly understand this to be a central tenet of the Neurosis and Isis inspired sound they’re clearly influenced by. ‘Vakuum’ is a dark ambient interlude for instance, while the aforementioned ‘Interloper’ dabbles in post-rock.
The bleak atmosphere is thanks in large part to the synth work throughout the album. It’s blended with field recordings and more industrial sounds frequently that give the album a harsh edge that’s unrelenting. They take centre stage in the verses of ‘Obsidian’ and are then seamlessly blended with the guitar work for the choruses; the end result is viciously heavy and desolate. It’s this omnipresent extra layer that lends so much of the unsettling aura to Unmaker, elevating it from an already heavy album to a serious contender for one of the bleakest albums this year.
Another thing LLNN understand well is dynamics; despite the record being dark and heavy, they do briefly allow breathing spaces. The ambience of ‘Vakuum’ is short and less of a rest than a brief interlude before being dragged under again, while songs themselves do play with moments of silence to allow that slightest respite. The effect isn’t particularly restful, instead leading it to feel more oppressive and the darkness feels even more enveloping. The production too, is claustrophobic and dense; it brings the post-apocalyptic world of Unmaker to life, creating an all-encompassing atmosphere that’s as experienced as much as it is heard.