Here Lies Man was introduced to me via their label (RidingEasy Records) with the following question – “What if Black Sabbath played Afrobeat?”
I’m not sure I can sum up HLM’s sound better than that. They’re from Los Angeles (and consist of members of Antibalas), so it’s tempting to say there’s a touch of southern California rock and surf in there. However, the majority of their sound is a blend of heavy riffs and Afrobeat rhythms. It works. Good heavens, does it work.
The heavy organ and crunchy guitar of “Animal Noises” get things off to a great start. It sounds like a couple wild boars grunting alongside jungle birds. It also cuts out and then fades back in with delicate psychedelic brush strokes. “Summon Fire” could probably do exactly that under the right circumstances. The guitar licks are hot enough, and the drums are perfect for a dance around the fire while spinning a spear overhead. The lyrics are belted out like something from Parliament Funkadelic. “Blindness” is a mostly instrumental with great organ / keyboard work throughout it, especially on the gothic fade-out that would make Bauhaus proud.
“That Much Closer to Nothing” is a good, yet bleak, way to describe living. The title and the sludge-like riffs are nihilistic at first, but then blossom with an infectious energy that let you know that letting go of all your trappings is a good thing. Those Sabbath influences are front and center on “Hell (Wooly Tail).” The bass slithers, the guitars chug, the drums bubble, and the keys melt. The songs ends with a child’s voice telling us to “Look in the mirror.” It lends a bit of creepiness to the title of the next track – “Voices at the Window.” The song is like a fog through which you see what may or may not be a deer along the road as you’re driving at 65mph. In other words, it’s misty and a bit frightening.
The choppy, fuzzy sounds of “Taking the Blame” are heavy and will get your neck moving like a bobble head figure. “Fighting” was the first single off the record, and choosing it was a no-brainer. The groove on it is excellent and belongs at the top of your next workout playlist. “Floating on Water” follows, and its one of the best psychedelic dream-rock songs of the year. It like concentric ripples in a mountain lake. “Memory Games” brings Cream to mind with its floor-stomping blues-based groove. The closer is the lovely “You Ought to Know” – an instrumental that puts together shoegaze, stoner rock, psychedelia, and space rock / lounge.
You Will Know Nothing is the type of album that you can put on a loop and listen to three times in a row without getting bored. It’s funky, heavy, and a great cure for anything ailing you right now.
Keep your mind open.
[You’re that much closer to subscribing. Just do it.]
