Sunn O)))’s Monoliths & Dimensions is a towering exploration of sound, blending crushing drone and avant-garde composition into something both elemental and expansive. Released in 2009, it marked a new peak for Stephen O’Malley and Greg Anderson, who brought orchestral arrangements and choral vocals into their already colossal sonic palette. It’s an album that feels less like a collection of songs and more like an immersive, physical experience.
“Hunting & Gathering (Cydonia),” famously described by radio host Jason Ellis as “the heaviest track ever recorded,” captures the sheer weight of the album. The track’s massive drones, growling low frequencies, and guttural vocals don’t just wash over you—they press down on you, creating a sense of gravity that defines the album as a whole.
Central to Monoliths & Dimensions is Sunn O)))’s devotion to amplification. O’Malley and Anderson rely on stacks of vintage Sunn and Ampeg amps, pushing their sound to almost overwhelming levels. The amps themselves become part of the instrument, sculpting thick layers of feedback and resonance that fill the room with a physical presence. This isn’t just music—it’s sound as an environment, and the amps are as integral to the process as the guitars or voices.
The album opens with “Aghartha,” a slow, ominous buildup of drones that sets the stage for the experimental elements to come. “Big Church [Meːɪˈɔːs]” combines thunderous tones with live-recorded choral voices, creating a stark contrast between the ethereal and the crushingly physical. The closer, “Alice,” shifts unexpectedly toward melody, as strings and brass lift the record into a rare moment of light.
Producer Randall Dunn’s role was critical in shaping the sound. Known for his ability to balance dense arrangements with clarity, he ensured that even the most overwhelming moments retained a sense of depth and detail. His use of microtonal tuning and live acoustic spaces adds to the album’s otherworldly resonance.
Sunn O)))’s influences on this record are as expansive as the music itself, from the minimalism of La Monte Young to the dissonant textures of György Ligeti. Their use of orchestral arrangements, composed by Eyvind Kang, integrates seamlessly into the music, treating the additional instruments as core elements rather than decorative flourishes.
The result is a record that has inspired a broad spectrum of experimental and heavy music. Artists in drone, doom, and avant-garde circles continue to reference Monoliths & Dimensions as a landmark of sonic exploration.
This isn’t an album for casual listening. It demands focus and immersion, rewarding those willing to engage with its crushing weight and subtle layers. Monoliths & Dimensions is a reminder of what heavy music can achieve when it refuses to conform, and Sunn O)))’s amplifiers remain the bedrock of that power.
Sterling Mosh 
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