Unmaker, the 3rd album by Copenhagen's LLNN, is a stupefyingly unforgiving affair: abrasive and vile, at times effervescent and escharotic, and finally absolutely smothering, suffocating, terminal.LLNN burst onto the 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 their sound than that: ,the wavering drone synths that are effortlessly merged with a raw hard- core-driven darkness define the subtle idiosycratic nuances of LLNN's very unsubtle, painfully overwhelming sound" (The Sludgelord).After European tours with Bison, performances at festivals like Roskilde, Roadburn and Arctangent and a split EP with WOVOKA, LLNN returned with sophomore album ,Deads" in 2018, an album that felt more compact, yet more complex and organic all at the same time. The band further explored the coalescence of the guitar & bass - axis with keys player Ketil G. Sejersen's synth layers - a direction that is now further pursued on Unmaker. In fact, LLNN's contemporary heaviness is not just "dense, suffocating tracks that build and crash" or ,buried vocals coming from under thick guitars and pounding drums" (Decibel): it's also the very dominant synths that evoke the feel and vibe of dystopian, post-apocalyptic sci-fi movies, inspired 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 & Limbo."As huge fans of classic sci-fi scores and video games we're fascinated by how cinematic sound design can evoke certain emotions and let our imagination unfold into abstract storytelling", says Sejersen.A recently released short film gives insight into the creation process and sound design on the new record, showcasing the process from the original sound recording to the final result, a production that took place at a blacksmith using various industrial machines. "A big part of the sound design in LLNN is initially created by fiel...
