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Whereas their previous albums evoked the buzzsaw surf riffs of Davie Allen, Dick Dale and The Cramps, with the thunderous groove of Motörhead, their fourth album finds these troglodytes veering hard into classic 80s heavy metal while still maintaining the compelling urgency of Italian gore gods Goblin. It’s heavier, nastier, more driving and… dosed with pure backwoods möld.
In keeping with their B-movie aesthetic, the recording offers in-your-face, loud tones dripping with stench and nastiness. But it’s also some of the best produced vintage sounding underground metal you can get your claws on in these dystopian times.
TRACK LISTING
1. Loud Pipes Take Lives
2. Homicycle Maniacs
3. Hella Hammered
4. Un Pneu Dans La Tombe - Aide Musicale À Mourir
5. The Ecstasy Of Mold
6. Blood, Bikes And Barbiturates
7. Blue Nuit (Les Plaisirs De La Chair)
8. Way Of The Road
9. The Heretic Rights Of Count Choppula
10. Get Laid... To Rest
The origin of this record is a weird one. In 2019, we had just returned from two long European tours when we decided to take a “little break” from the road. You all know what happened next. That “little break” turned into a couple of years and during that time Dane, our drummer, decided to quit the band and music in general (no hard feelings).. Sean and I had a discussion and thought about ending the band as a whole, but I knew I had to go out on my own terms. I had an ace in the hole, though. Jeff Murray, drummer from LA rippers The Shrine. I had been friends with Jeff and The Shrine’s founder, Josh Landau since our “Scavenger” 7” came out, around 2012. We had run into them in Berlin a few months back and I knew they weren't playing anymore. I called Josh first, ‘cause asking a dude if you can take his drummer, is like asking your girlfriend's Dad if you can marry her. And Josh said “go for it”. And Jeff was in.
Honestly if he had said no, that would have been the end. I had written a ton of stuff since our last album but I had shelved most of it. I was trying too hard - basically. Eventually Sean, Jeff and I said, ‘Fuck it, let’s make a “Fake Live” record’ - like Kiss or Slayer did. John Dwyer from Osees was opening his new studio, Discount Mirrors and it seemed like the perfect place to record it. We settled on re-recording a bunch of old stuff while simultaneously demoing our new material, as the three of us were now starting to really get in the groove. The result is Strange Masters Vol. 1.
These are not new songs. These are Zig Zags classics re-recorded with a ripping-ass band that’s old and angry and just wants to get on with it. We are already on to recording the next album of new songs. That one is coming soon, but in the meantime, enjoy this one…while you still can!-Jed Maheu-Guitars-Vocals-Zig Zags
TRACK LISTING
1. Scavenger
2. Fallout
3. Brainded Warrior
4. Magic
5. Voices Of The Paranoid
6. Punk Fucking Metal
7. My Lighter
8. No Blade Of Grass
9. They Came For Us
10. Bloodstains
That’s Deathchant vocalist and guitarist T.J. Lemieux talking about the band’s third and latest album, Thrones. Think of it as not just the follow-up to 2021’s Waste, but the other side of the coin. “While Waste and our self-titled album touched on similar themes, they were sort of from a problem standpoint,” he explains. “Thrones is full of reflection, self-realization, and solutions for moving forward and conquering those problems.”
Which isn’t to say that Deathchant have gone soft. Far from it, dude. In fact, Thrones just might be their heaviest record thus far. The band’s seamless swirl of classic rock guitar harmonies, syrupy sludge, blues boogie and psych bombast has reached a thrilling new apex as Lemieux spins high-powered tales of reckoning from beyond the wall of sanity.
Thematically, Lemieux and his bandmates—bassist George Camacho, guitarist Doug Stuckey and drummer Joe Herzog—peel back the veneer of self-delusion to expose the fork in the road. “Thrones is meant to represent things that rule you, things you worship, things you rely on or think you need,” Lemieux says. “Sometimes those things make you feel in control, safe, on top of the world like you're in power—which over time often proves untrue.”
Witness lead single “Mirror”: Kicking off with gleaming Lizzy-isms, the song rumbles into a thick groove overlaid with lysergic fireworks that conjure the shaggy European movers of decades past. “‘Mirror’ is the key to the whole Thrones theme,” Lemieux explains. “It’s about looking inward to realize what's ruling you, what's consuming you, and how delusional you've been about those things. Your sense of self is so damn important, and fully facing your truths is not an easy thing to do. It’s admitting that you’ve intentionally dulled and quieted your mind to distract, avoid and run from yourself, from memory, from loss and truth. At some point, you have to face that shit.”
The languid and dreamy “Mother Mary” is also crucial to Thrones’ trajectory. “If the album was a book, ‘Mirror’ would be the first chapter and ‘Mother Mary’ would be the last chapter, though they’re not the first and last track for sonic reasons,” Lemieux explains. “‘Mirror’ is saying, ‘I’m looking inward because some things need to change,’ while ‘Mother Mary’ is saying, ‘Okay, things are fucked and have gone way too far but now we have this understanding—and acknowledging things is key to overcoming.’”
Thrones was recorded live in a cabin in the remote mountain community of Frazier Park, CA, with trusty engineer Steve Schroeder (a.k.a. Schroeds). “We moved in for a week, rehearsed a bit and went for it,” Lemieux says. “Each tune got three or so takes, but we nailed ‘Mother Mary’ and ‘Canyon’ right away.” Overdubs were done at the cabin, Schroeder’s Studio 3, and Lemieux’s place. The album was produced by Lemieux and Schroeder.
“Overall, it’s a pretty dark record,” Lemieux says. “It's serious and leans into heavy themes, sometimes using metaphor and imagery to soften those blows, but sometimes it hits direct. It’s positive, though—and cathartic. Forever riding on the line of total insanity and flirting with mental degradation. It’s our most realized and ambitious record to date.”
TRACK LISTING
1. CANYON
2. THRONES
3. MIRROR
4. MOTHER MARY
5. CHARIOT
6. HOAX
7. EARTH
8. TOMB
Kicking off this trip, Grapple’s “Ethereal Genesis” is a heavy psych gem from 1969 written by J. Bruce Svoboda, a.k.a. Jay Bruce, formerly of The Hangmen and The Five Canadians (who were actually the same San Antonio band). The latter’s 1966 garage favorite “Writing on the Wall” has been endlessly covered, but Grapple were never heard from again.
With a guitar riff that blatantly rips off Sabbath’s “Black Sabbath,” Image’s mostly instrumental lysergic obscurity “Witchcraft ’71” (originally unveiled that very year) also boasts a horror-movie organ intro, a voodoo drum break and some championship chanting. Private press heads might recall late Image drummer John Beke from his ’80s reemergence with country rockers Crossfyre.
Stone Hedge were a seven-piece rock band out of Michigan with a penchant for Creedence and anthropomorphism. “Smokey Bear” is their 1972 tribute to the official mascot of the U.S. Forest Services—not to mention the A side of their sole single—and it recalls the kind of organ-drenched swamp jam that soundtracked many a Burt Reynolds flick back in the day.
If you think being a Southern rock band from Milwaukee doesn’t make much sense, that’s probably why Crossfire changed their sound along with their name—to Bad Boy—after signing with United Artists. Bad Boy’s severely underappreciated second album, Back To Back, is a 1978 hard rock jewel, but you can hear their boogie-woogie roots on this rare 1975 single.
With a band name like Primevil and song title like “Too Dead To Live,” you probably expect some gnarly proto-metal riffage. Instead, you a get a harmonica-drenched, soul-infused rock rave-up from 1972. Primevil would release their sole LP two years later: Entitled Smokin’ Bats at Campton’s, it’s a reference to their trusty singer, harp player (and bat smoker?), Dave Campton.
Brown Acid regulars already know Pegasus from their appearance with “The Sorcerer” on our Seventh Trip. “Ready to Rave” is the flipside to that 1972 single, in which they explain how they like their whiskey cold and their women hot. It’s another killer glimpse of what might have been if these one-and-done Baltimore hard rockers had been able to keep it together.
One of two obscure singles released by Texas musician Bobby Mabe in 1969 (the other appears under the name The Outcasts), “I’m Lonely” delivers a heavy dose of vocal soul to the otherwise psych-garage presentation. Fans of fellow Houstonians the Moving Sidewalks—whom Bobby and his Outcasts may well have gigged with—will especially dig this one.
Cedar Rapids, Iowa, may not be known as a cultural mecca, but they did give us Truth & Janey. This deadly hard rock trio delivered their holy grail full-length, No Rest for the Wicked, back in 1976. “Around and Around” is a Chuck Berry cover that originally appeared on a 1973 single the band released under the earlier name Truth.
Originally released in 1973, “High School Letter” is the debut single from San Diego rock squad Glory. This infectious bonehead cruncher features future Beat Farmer Jerry Raney and the original rhythm section of Iron Butterfly in bassist Greg Willis and drummer Jack Pinney. Glory is what they got up to after their former bandmates left for L.A.’s garden of Eden.
“Jack the Ripper” is a mercilessly bootlegged Cleveland classic from 1978 with a serrated punk edge and vocals that recall Mick Blood of Aussie savages the Lime Spiders. Or maybe it’s the other way around—the Lime Spiders formed the year after Strychnine carved off this lethal paean to the infamous Whitechapel slasher of olde.
TRACK LISTING
Side A
Grapple “Ethereal Genesis” - San Antonio, Texas 1969
Image “Witchcraft 71” - Illinois 1971
Stone Hedge “Smokey Bear” - Battle Creek, MI 1972
Crossfire “I Gotta Move” - Milwaukee, Wisconsin 1975
Primevil “Too Dead To Live” - Hancock County, Indiana 1972
Side B
Pegasus “Ready To Rave” - Baltimore, Maryland 1972
Bob Mabe & The Outcast “I’m Lonely” - Galveston, Texas 1969
Truth & Janey “Around And Around” - Ames, Iowa 1973
Glory “High School Letter” - San Diego, California 1973
Strychnine “Jack The Ripper” - Cleveland, Ohio 1978
The beating heart of The Death Wheelers is a rumbling engine. Since their self-titled debut in 2015 and in 2020’s cinematic-storytelling breakout, Divine Filth, the Canadian outfit have tapped into wind-through-hair freedom and careened down open roads of groove, not a cop in sight. Their third record, Chaos and the Art of Motorcycle Madness, more than lives up to its name on all fronts. With songs like “Morbid Bails” and “Lucifer’s Bend,” the in-the-know references abound, and The Death Wheelers draw from classic underground metal, scummer heavy rock and cast themselves into a cauldron of cultish biker devil worship, reveling in any and all post-apocalyptic dystopias with genuine glee at having just seen the world eat itself. You might hear some surf guitar. Crazy things can happen.
A sample in “Triple D (Dead, Drunk and Depraved)” underscores the message: “We want to be free to ride our machines without being hassled by the man. And we want to get loaded.” That line, from Roger Corman’s 1966 film The Wild Angels, serves as a mission statement, and as “Lucifer’s Bend” starts by laughing about how you can’t get away from Satan, they might as well carve it into their forearms to be ready when the blast of distortion hits, as much Entombed as Motörhead, galloping and sinister, coated in road dust and blood.
The band tells the story like this: “Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, the Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the club will need to engage in a series of lewd acts of sex and violence across the country. Immortality comes at a price and you’re about to pay for it…”
While forging songs adherent more to ideology than style, The Death Wheelers cast their biker cult in their own image, and on Chaos and the Art of Motorcycle Madness, they challenge death head-on as only those with no fear of it could hope to do.
TRACK LISTING
1. The Scum Always Rises To The Top
2. Morbid Bails
3. Les Mufflers Du Mal
4. Ride Into The Rot (Everything Lewder Than Everything Else)
5. Triple D (Dead, Drunk, Depraved)
6. Lucifer?s Bend
7. Brain Bucket
8. Open Road X Open Casket
9. Motortician
10. Interquaalude
11. Sissy Bar Strut (Nymphony 69)
12. Cycling For Satan Part II
The Mount Airy, North Carolina trio got its start as teens in 1969 as the backing band to a large 20-50 person traveling church choir called the New Americans. By 1970, the band was ready to move on to performing on their own. First as a sextet, the band soon trimmed down to a three-piece, working the local club circuit like madmen, sometimes playing three shows a day. At the height of their live tightness, B.O.P. recorded the album with local musicians Don Dixon and Robert Kirkland of the band Arrogance who worked at Charlotte recording studio Reflection Sound in October 1975. The band laid out the highlights of their live set in the studio, which ran the range of influences from The Raspberries to Deep Purple, Doobie Brothers to Nazareth, Lynyrd Skynyrd and Grand Funk. The initial pressing of 1000 copies was released in March 1976, but without major label machinery for retail distribution, radio and press, the album never took off. The band mostly sold them at live shows, via consignment at local stores and in limited distribution in the Southeastern region. However, to date, the record still occasionally pops up for sale online worldwide at exorbitant collectors’ prices. Until now, finally getting a proper reissue via Riding Easy Records.
Our 16th installment kicks off with “Shuckin’ and Jiving,” a seven-minute power jam from L.A.’s kings of garage psych, the Seeds. The song appeared as a single in 1972 with “You Took Me By Surprise” on the flipside. It was the only release on Productions Unlimited, a label created by (or for) the Seeds at the tail end of their late ’60s/early ’70s run as Sky Saxon and the Seeds. Get shucked!
Very little is known about the band Nothing, beyond the fact that “Young Generation” is the flip of “Sittin’ On Top Of The World,” one of four singles released by the ASG label out of Cincinnati in the mid-70s. What we can tell you for sure is that “Young Generation” is a funk-injected hard rock banger of Buckeye State proportions, complete with what sounds like anonymous oral…
Macbeth released their one and only 45 in 1978, with the steamrolling “Freight Train” as the B-side to “Didn’t Mean (To Come This Far).” Boasting a thick-ass riff, a tasty stereo-panned guitar solo and at least one space laser sound effect, this one should satisfy fans of Blue Cheer and Grand Funk alike. Macbeth’s bassist, Ned Meloni, went on to play with UFO guitarist Paul Chapman, Virgin Steele guitarist Jack Starr and do a brief stint with doom legends Pentagram.
As it turns out, Saturday night ain’t just for fighting. One-and-done Canadian psych-rock warriors Sarawest will tell you it’s also for gettin’ “Hot & Heavy,” and they’re not wrong. This swirling 1974 freak rock fuzz-bomb will get the party started every time. And that porno guitar? Outta sight.
After releasing their full-length debut, Cuttin’ Loose, in 1976, North Carolina rockers Brotherhood Of Peace shortened their name to BOP and dropped this single two years later. “Feel The Heat (In The Driver’s Seat)” is freeway funk-rock in the classic Southern style.
Released in 1969 as the flip to “School Daze” (which opened The Eighth Trip in high style), Attack’s "Dream” was written by Thom Strasz. That’s the same St. Clair Shores, Michigan, resident who penned the highly sought-after garage-rock diamond “City Of People” under the name The Illusions in ’66. And this acid-drenched rocker rocks hard.
Brown Acid favorite Marty Soski rides again! After appearing on our third & eighth trips with his band Inside Experience and the fifth with Lance’s “Fireball,” the Ohio guitarist/vocalist graces our 16th with “Marilyn,” the 1976 A-side to “Fireball.” This time, our man unwinds a psychedelic threnody to the artist formerly known as Norma Jean Mortenson, perhaps inspired by Elton John’s then-recent “Candle In The Wind.”
Formed by three brothers—David, Bruce and Barry Flynn, all GM factory workers—along with organist Tom Applegate, The Headstones (also known as simply Headstone) lent their 1974 garage boogie “Carry Me On” to The Fourth Trip. This time, the Midwest psych rockers return with their killer 1975 instrumental “Snake Dance.” You can hear echoes of this particular guitar style in the recent work of Swedish adventure rock overlords Hällas.
The band Clinton might’ve been from Pennsylvania, but that didn’t stop them from writing about New York City. “Midnight In New York” is the flipside to their sole single, 1976’s “Falling Behind.” Stylistically and thematically, it’s not unlike something famous New Yawker Ace Frehley would’ve written for KISS around the same time.
TRACK LISTING
1. Seeds - “Shuckin’ And Jivin'”
2. Nothing - “Young Generation”
3. Macbeth - “Freight Train”
4. Sarawest - “Saturday (Hot & Heavy)”
5. Brotherhood Of Peace - “Feel The Heat (In The Driver’s Seat)”
6. Attack - “Dreams”
7. Lance - “Marilyn”
8. Headstones - “Snake Dance”
9. Clinton - “Midnight In New York”
In 1973, Detroit was clearly “Rock City”, featuring such local icons as Bob Seger, Alice Cooper, Grand Funk Railroad, Ted Nugent, and Mitch Ryder, and the high energy punch of Master Danse reflected this proud heritage. Unfortunately, this union would only last one year, and by the end of 1974 the power rock trio known as Master Danse had disbanded. What was left for posterity were only two live reel to reel recordings and one promo 45 single. Some forty-seven years later, the 45 found its way onto the internet and a small cult following of audiophiles was born, people who appreciate the raw power and high energy of early ‘70s rock. Bands like Master Danse and others from this era were riding the wave of transition from the pop rock sound of the ‘60s to an edgier sound that would eventually lead to metal and punk music.
With the help of modern-day tape restoration techniques, the two live recordings were restored, and together with the 45, the best versions of the eight songs that have survived the decades are featured on this album. Although recorded live forty-eight years ago on a two-track stereo tape recorder, you can still feel the power of Giaier’s Marshall stack, Fletcher’s twin Acoustic 360 amps, and the relentless attack of Riss’ Ludwig drums. So, sit back and enjoy. Rock on!
TRACK LISTING
Side One
1. Detroit City
2. Givin' In
3. I. O.U.
4. Sunday Morning
Side Two
1. Train To Love
2. We're Not Alone
3. Feelin' Dead
4. En Route To Fame
Maximillian combined elements of beat poetry, a little bit of The Fugs, a hit of Funkadelic, a lick of Cream and a vibe of Hendrix worship with an ambition that seems to have jumbled these influences. The Maximillian album is a rare artifact of late-60s psychedelic rock whose appeal is not the skill of their musicianship, but the downright strangeness of it. While at times it sounds like the trio is playing entirely different songs at the same time, it’s said that producer Teddy Vann had a hand in the album’s sometimes confusing production.
The group credited on the album consists of singer Buzzy Bowzer (aka Maximillian), lead guitarist Mojack Maximillian, and bassist Moby Medina (aka Moby Maximillian) with drummer Jerry Nolan later of the New York Dolls oddly uncredited on the LP. However, according to Nolan’s official biography, the band was actually co-founded by Buzzy and Nolan in 1968. The drummer was reported to have feuded with Vann, who disliked his Mitch Mitchell influenced style, and was subsequently mixed very quietly and not credited on the album.
The album’s eye-catching artwork features the sharp dressed band crucified on flower-covered crosses, with a cryptic and self-aggrandizing manifesto describing them as “new prophets of love and truth.” Be that as it may, their prophecy was short-lived, though it may have foretold the chaotic, rudimentary sounds to come in punk, and even, the grunge era.
The album opens with what sounds like an alternate reality version of Procol Harum’s “A Whiter Shade of Pale” here re-tripping the light fandango under the guise of “Naked Ape.” A short 4-second sputtering of a violin tuning starts and abruptly ends as funereal fuzz bass and drums set up the melody and shimmering organ, violin squall and Bowzer’s howling voice wails of the failures of human evolution. “Kickin’ 9 to 5” starts like an early Hendrix groove before turning on a dime into a Bo Diddley-esque dirge, replete with the drums hard panned to the left channel and a persistent maraca on the right. Bowzer’s diction on “Scar On My Memory” predates Mark E. Smith of The Fall’s signature added vowels at the end of most words, while the music sounds like a more acid damaged take on fellow NYC freak-folkers Exuma. Elsewhere, “The Name of The Game” echoes “Manic Depression” with churning, rolling drums and a chiming guitar following Bowzer’s growling blues until the song suddenly shifts into a lurching rave-up, then a blues rumble for a few bars before mutating back to the original riff. Album closer “Moby’s House” is by far the most unusual track, sounding like a pastiche of the album’s songs cut and spliced together in random fashion, perhaps in homage to The Beatles’ “Revolution No. 9.” Throughout the album, random percussion and other instruments pop up as though the producer were assuring he could take credit for song arrangements.
Late in 2021, Slow Season announced they’d become Westing, and that Ben McLeod (also of Nashville’s All Them Witches) was now in the four-piece on lead guitar alongside guitarist, vocalist and keyboardist Daniel Story Rice, bassist Hayden Doyel and drummer/recording engineer Cody Tarbell. Their new LP (fourth overall for RidingEasy), Future, is not coincidentally titled.
Says Rice, “We wanted to hit the reset button on some things and so we included a new band name to that list. Fresh start, for the psychological effect of it. We first met Ben in 2014 opening for All Them Witches in San Diego, and we did that again in 2016 and he and Cody corresponded about tape machines, music production, and other similar nerd stuff. We started swapping a few ideas early in 2021 and then flew him out for four days in August 2021. We got Future mostly down in that short span and did some remote stuff for overdubs, but nothing major. Obviously, our creative processes jelled pretty well to allow for such an efficiently productive session.”
So the story of Westing, and of Future, is about change, but the music makes itself so immediately familiar, it’s so welcoming, that it hardly matters. For about 10 years, the Visalia, California, outfit wandered the earth representing a new generational interpretation of classic heavy rock. The tones, warm. The melodies, sweet. The boogie, infectious. They went to ground after supporting their 2016 self-titled third album, and clearly it was time for something different.
Listening to Future opener “Back in the Twenties,” the message comes through clear (and loud) that however much Westing’s foundations might be in ‘70s styles, the moment that matters is now. It’s the future we’re living in, not the future that was. The big Zeppelin vibes at the outset and on “Big Trouble (In the City of Love)” and the local-bartender remembrance “Stanley Wu,” the dare-to-sound-like-Rocka-Rolla “Lost Riders” and the softshoe-ready shuffle of “Coming Back to Me” that leads into the payoff solo for the entire record, on and on; these pieces feed into an entirety that’s somehow loyal to homage while embodying a vitality that can only live up to the title they’ve given it.
“To me, ‘future’ is a word that embodies both hope and dread,” explains Rice, “and the future seems to be coming at us pretty quick these days. In some ways, it really feels like I am living in “the future,” as if I time traveled here and don't really belong. That feeling pervades this band's ethos in some ways. I thought Instagram was a steep climb until I met TikTok.”
Is Future the future? Hell, we should be so lucky. What Westing manifest in these songs is schooled in the rock of yore and theirs purely, and in that, Future looks forward with the benefit of the lessons learned across three prior full-lengths (and the accompanying tours) while offering the kind of freshness that comes with a debut. No, they’re not the same kids who released Mountains in 2014, and the tradeoff is being able to convey maturity, evolving creativity and stage-born dynamic on Future without sacrificing the spirit and passion that has underscored their work all along. – Words by JJ Koczan
TRACK LISTING
1. Back In The Twenties
2. Nothing New
3. Lost Riders Intro
4. Lost Riders
5. Big Trouble
6. Artemisia Coming Down
7. Silent Shout
8. Stanley Wu
9. Coming Back To Me
“There was so much grief both in the world and interpersonally during the process of creating Silence/Motion,” says vocalist/bassist Allison “Sunny” Faris. “The four of us gave one another more space to be ourselves, to experiment with each other’s ideas and to be gentle with one another more than we ever have before. So, we knew this tenderness would manifest in extremely honest arrangements, and I think that you can hear that throughout the record.”
Curiously, considering the dark times in which it was created, this is the band’s most melodic and catchy music so far. Blackwater Holylight, as the name suggests, is all about contrasts: It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once. And, Silence/Motion finds the band honing those contrasts, letting ideas and moods fully develop from song to song, rather than filling every song with a full range of their capabilities. It allows the band to go fully prog-rock here, and simply stay hushed and intimate there. There’s a new confidence to the band in how seamlessly they wield their stylistic amalgam.
“Writing this album was extraordinarily difficult emotionally, however it did come to fruition fairly quickly,” Faris says. “In the past, the theme of vulnerability has always been a big player and it definitely showed up full force while writing this album.”
Blackwater Holylight recorded the album as a four piece: Faris on vocals and guitar (on “Silence/Motion”, “MDIII”, “Around You” and “Every Corner”) and bass for the remainder, Sarah McKenna on synths, Mikayla Mayhew on guitar (and bass when Faris plays guitar) and drummer Eliese Dorsay. New second guitarist Erika Osterhout will perform the songs with them live. For Silence/Motion the band chose to work with a producer for the first time, bringing in A.L.N. (of Mizmor, Hell) to produce, along with recording engineer Dylan White — who also helmed their previous album Veils of Winter (2019) — at Odessa Recording Studio in Portland, OR. Guest vocals on album opener “Delusional” are by Bryan Funck (Thou.) Mike Paparo (Inter Arma) and A.LN. (Mizmor, Hell) lend guest vocals to album closer “Every Corner.”
Silence/Motion opens softly with interwoven folky single note guitars over an ominous sounding drone for the first minute, akin to moments from Pink Floyd’s Echoes. Suddenly an irresistibly head-nodding, groovy droptuned riff kicks in with the drums and it’s a full on blackened rocker with soaring synths and Funck’s witchy whispers over the top. “Who The Hell,” the track quoted above, takes proceedings into a Krautrock direction, centered around McKenna’s arpeggiated synth loop and Dorsay’s tom-tom triplets, while 16-note guitar strums add tension as Faris wearily sings, “So tell me who the hell would want to live this way — so afraid/ To feel this void, to dwell in it… I can’t describe this pain I wear/ It suffocates and you left it here.” It’s an incredibly powerful 6 minutes. The title track delivers the 1-2-3 punch of the album’s brilliant opening trilogy. It starts with lightly plucked acoustic guitar, plaintive piano chords and Faris’ voice gliding so softly it sounds more like a Mellotron. The song builds slowly toward crescendo, led by a swinging tom pattern, that abruptly switches back to a heavier version of the opening melody.“Silence/Motion” is about digesting and healing from sexual assault. As Faris explains, “It is an ode to the juxtaposition of feeling paralyzingly blank and and like your entire life is moving through you simultaneously.” Elsewhere, Black Metal guitars collide with dreamlike melodies. “Around You” brandishes a hopeful, hummable synth melody and shimmering shoegaze guitars like throwing down a gauntlet. In the end, it becomes undeniably clear just how completely into their own Blackwater Holylight has come.
“The analogy is that with our first record (Blackwater Holylight, 2018) we were getting into to the car and buckling up,” Faris says. “The second (Veils of Winter, 2019) we were turning the car on, and with this third we have kicked into drive toward our destination. Our destination is a bit mysterious and has the ability to change from day to day, but we’re on our way.”
TRACK LISTING
01. Delusional
02. Who The Hell?
03. Silence/Motion
04. Falling Faster
05. MDIII
06. Around You
07. Every Corner
'We’re very conscious of how the rhythms service the riffs,' explains founder and vocalist / guitarist/ multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. 'Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.'
Sonically, on "You Will Know Nothing" the dynamic range is thicker, crisper and more powerful. It glistens as much as it blasts. The songs are even catchier, more anthemic, and the production reflects that of a band truly come into its own. Lyrically, it’s an equally more conceptualized effort that reflects upon states of being and consciousness — a driving force that carries throughout the words and moods of all of the band’s releases, interconnected to their trancelike music. Here Lies Man have honed their sound and their focus, and soon, you will truly know Nothing.
Garcia and Mann recorded the album much like they did the debut, at their own L.A. studio on a Tascam 388 8-track tape machine. Congas were later recorded by percussionists Richard Panta and Reinaldo DeJesus. Then, Garcia went to NY to record interludes with former Antibalas keyboardist Victor Axelrod. Mixing took the most time in order to find the proper sonic space for each layer of musical detail, with first album engineer Jeremy Page mixing the drums and the band tackling the remainder while also juggling a hectic touring schedule.