If your music has caught the interest of movie sound designer Peter Albrechtsen ("Dunkirk" and "Antichrist"), you are doing something incredibly right. With third record "Unmaker" around the corner, the sci-fi sludge metal band LLNN from Denmark have created an album that will immerse you in their ruinous universe.
Photo by Pål Bellis
LLNN was forged in 2014. Vocalist/guitarist Christian Bonnesen and drummer/event and music photographer Rasmus Sejersen played in hardcore band The Psyke Project and when that band disbanded, they brought in Rasmus's brother Ketil and LLNN was born. He added his sound ideas to the band and in this interview, we talk to him about the new record, soundtracks for movies and videogames, and the sound designs that we saw and heard on Roadburn Redux.
"Unmaker" is, according to the bio, about how technology, in combination with certain power structures, is transforming humanity. Can you elaborate on that?
The record in general is about all forms of power structures and how you can feel powerless staring down the abyss. Be it technology, politics, culture, or close relationships. Everything is at a faster pace because of the 'convenience' of technology and the record is a lot about not feeling that we are ready for it.
Who came up with the album title and what does it mean?
We did a brainstorm together. The album title has the ability to evoke different visions for what an “Unmaker” actually is. We see The “Unmaker” as the LLNN mothership floating around in space. Geek info: “Unmaker” is also a weapon in DOOM.
How did you create the song "Forger"?
“Forger” went through several iterations before we landed on the final song. Initially, we had the final breakdown and just started jamming around that, we scrapped about two completely different versions before Furbo (bassist) and I made the melodic part of the song. Furbo and Rasmus (drummer) also really focused on the rhythm section in this song, while the guitar and synth float on top. In some ways, it reminds me a lot of something from "Loss", just taken to the next level.
I love the artwork for "Deads", did your brother do the artwork for "Unmaker" as well? What was his inspiration/idea?
Yes, Rasmus has really done an amazing job on both “Deads" and “Unmaker”. He got inspired to do macro photographs of ice when he and I were driving around in my car. It was a cold winter day, and one of my water bottles in the car was frozen and he just starts looking through it with his “I'm about to do something” look. Afterwards, he began the photo session in his kitchen with ice, metal scraps, and his camera.
On Roadburn Redux, we saw a glimpse of what kind of equipment/tools you used. Can you explain what you were looking for when creating the sound designs for this record?
Our mission for “Unmaker”, was to create the most “harsh” sonic universe with elements from our father's industrial workshop. He is a blacksmith with very cool gear, so the opportunities were/are unlimited. When we started recording his welded tubes and iron saws, the whole electronic narrative fell into place. The deeply ringing sounds combined with eerie cutting saws were suddenly our theme for the synth.
Roadburn + LLNN 2022?
Hopefully!
Christian said in an old interview from 2014, that you guys were making electronic trip-hop. Now as a huge AFX, Portishead, and Tricky fan I am curious, are you guys still doing that? And is there any material we can hear?
Rasmus and I have a studio together named Gravitated Sound Studio where we work on various productions at the moment. Stay tuned for that...
Talking about Portishead, any thoughts on Geoff Barrow’s work on soundtracks?
Great composer, and regarding his soundtracks I recommend his amazing co-work on Ex Machina! An eerie and very tense piece of art.
What movie/videogame/soundtrack inspired you to be a sound designer and why?
Video games have always been a huge part of our life, and like many others, we started an epic journey back in 2001 where we witnessed a revolution in space sound design and epic themes - Halo: Combat Evolved. Great times! On top of that, video games such as the Dark Souls series have a huge impact on us due to the dark ambient environments and crazy good scores. About movie soundtracks, we have our all-time favourites, Terminator, Alien, and Arrival. They are big landmarks for how a soundtrack should sound, both due to the compositional elements but also the way of melting sound design into the scores.
I noticed a similarity between the melody of Jed Kurzel’s Alien Covenant soundtrack and the melody in "Obsidian". When looking back at the Alien soundtrack composers which one is your favourite and why?
Jerry Goldsmith has a special place in our hearts! Very iconic, and has also inspired us to work deeper with soundscapes rather than actually themes on the synth. Creating atmosphere is key!
Any sound designers/film score composers you want to work with and why?
If Jóhann Jóhannsson was alive, he would be the ultimate dream to work with. He is the man behind my all-time favourite movie soundtrack Arrival. The movie is about language and communication between aliens and humans, and the way he created a native yet alien atmosphere mainly by looping and manipulating vocals is mind-blowing. I definitely recommend that soundtrack.
As a sound designer yourself, what do you think is the most annoying sound in the world and why?
As a sound designer, I have thousands of sounds that tickle me both good and bad. I'm really aware of my surroundings, and every sound I hear is going through my brain like “this could make a killer bass ambient”, or “if this was manipulated right, I got myself a whole new sonic universe”. Sound is only what you make of it, so on a bad day, all sounds suck and vice versa!
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