Occult Psychedelia For The Initiated. Doom For The New Age.
Hailing from Nanaimo, British Columbia, on the west coast of Canada, Dave Read (Moths & Locusts) on bass/guitar/synth/effects and Arlen Thompson (Wolf Parade) on drums/modular synth have for the last several years teamed up as ANUNNAKI, and over the course of several sold out EPs and one previous full length album (2017’s “Two Treatise On Gnostic Thought”) they have harnessed a maelstrom of hurricane force tones into their unique sound. The new album “Immanentize The Eschaton” (ie, to bring forth the Apocalypse) reflects all the chaos and turbulence going on in the world today, be it politically, environmentally, or socially, as well as reminding us of the beauty, love and compassion that so often appears fleeting in these modern times.
Imagine a cross between Motorhead’s Lemmy & Philthy Animal and Kraftwerk’s Ralf & Florian, together channeling the kozmik vision of Alice Coltrane through Sunn O)))’s amplifiers, and with influences varying from Klaus Schulze to Acid Mothers Temple, from New Age to Black Metal, Madame Blavatsky to Thich Nhat Hanh, and you’ll start to get the idea of what Anunnaki is all about. To put it mildly Anunnaki creates a massive sound for only 2 musicians. Live, the band has shared the stage with artists including Merzbow, Peter Brotzmann, Plastic Crimewave Syndicate, Darsombra, The Band Whose Name Is A Symbol, Comet Control , and Finland’s Siinai, among others.
The album itself comprises just 3 epic tracks, ranging in length from 7:01 (album opener ‘Rise Of The Millenarian’), to 21:25 (‘The Demiurge Begins Anew’, which comprises all of Side B). In what is becoming true Anunnaki fashion, all tracks were recorded live off the floor, with no overdubs and minimal edits. The striking cover art is a black & white photographic portrait of the band with bass/guitar doubleneck and modular synth at the ready, beautifully shot in Nanaimo’s iconic White Room venue by local photographer Jason Felker. Produced by the band, and assisted by Andrew Halliwell, with mastering once again handled by Dietrich Schoenemann.
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