Tag: Black Angels

MIEN – self-titled

Consisting of members of the Black Angels (Alex Maas on guitar, bass, and vocals), the Earlies (John Lapham on synths), Elephant Stone (Rishi Dhir on sitar, bass, and vocals), and the Horrors (Tom Furse on synths), MIEN are a psychedelic supergroup who have been at least discussing their self-titled debut album since 2004.  Now that it’s here, they (and we) can rejoice in a job well done.

Staring with the cosmic “Earth Moon,” Maas’ vocals are drenched in smoky reverb as he sings about how our beliefs can alter our reality.  Where that track is a lovely stroll through a psychedelic meadow, the second cut, “Black Habit,” is downright creepy with Lapham and Furse’s synths providing a dark drone under Maas’ lyrics about addictions.  “(I’m Tired of) Western Shouting” might be my favorite cut on the record.  The drum beats are wicked, as are Maas’ lyrics about 24-hours news cycles, angry Internet rants, and people being proud to be rude or even bigoted.  The whole band clicks on it, and it slays live.

“You Dreamt” layers on the synths and is pretty much a dark wave track (and a good one).  The instrumental “Other” floats on Furse and Lapham’s synths and could’ve easily fit into the score for Blade Runner: 2049.  “I feel so high,” Maas sings on “Hocus Pocus.”  You might feel the same as it warps into distorted madness and heady freak-outs.  Thee deep bass synths on “Ropes” fuel the urgency of Maas’ vocals about fear.

“Echolalia” is defined as mindless repetition of words or sentences as a symptom of a psychiatric disorder or as a repetition of words by a child learning to speak.  Both definitions seem appropriate for the track of the same name, as it churns with an almost frantic energy and then comes to an abrupt start that surprises you.  “Odessey” has brighter synths, and even female backing vocals, but they hide menace within them.  The album ends with a reprise of “Earth Moon.”  It’s a mellower version than the first and it creates a nice, dreamy ending to a mostly spooky record.

It’s a solid debut.  MIEN are currently on their first live tour, so don’t miss them or this record.

Keep your mind open.

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Levitation Austin artist spotlight: MIEN

Psychedelic supergroup MIEN will be making their live debut at Levitation Austin this year (April 27th at Stubb’s BBQ starting 7:30pm).  The band consists of members of the Black Angels, Elephant Stone, the Horrors, and the Earlies.  Their set will surely be one of the highlights of the festival, so don’t miss it.

Keep your mind open.

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Levitation Austin artist spotlight: Christian Bland and the Revelators

If you love early Pink Floyd, you’ll love Christian Bland and the Revelators.  Mr. Bland is one of the co-founders of the Black Angels and one of the curators of Levitation Austin.  He’s also a cool joe.  I’ve met him four times.  His work with the Revelators is a must-hear if you’re a fan of his other work.  They’re playing April 26th at Barracuda at midnight, so come embrace the witching hour with them.

Keep your mind open.

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MIEN release first single, “Black Habit,” and it’s a doozy.

Is it too early to say I’ve already heard one of the best singles of the year?  MIEN, consisting of the Black Angels‘ Alex Maas, Elephant Stone‘s Rishi Dhir, the Earlies‘ John Lapham, and the Horrors‘ Tom Furse, have released “Black Habit,” the first single from their debut self-titled album due out April 6th.

The single is a heady, almost nightmarish trip blending psychedelia with a bit of dark wave.  The album is available for pre-order and the band will play live at Levitation Austin this April.  I already have my tickets for their performance.  Don’t wait to get yours, or to order this record.

Keep your mind open.

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Top 30 albums of 2017: #’s 20 – 16

It’s top twenty time!

#20 – Brother O’ Brother – Neon Native

I’m happy to include some “local” (as in from the same state as I) cats on my list of top albums of the year.  This is a blistering garage-blues record that further proves you don’t need a lot of fancy gadgets and studio trickery to make hard-hitting rock.  They’re one of my favorite discoveries of the year.

#19 – The New Pornographers – Whiteout Conditions

This album is one of the best reactions to the year in politics that was 2017.  Band leader Carl Newman has openly spoken about how the 2016 election and his battle with depression formed a lot of the songs on this record, but it’s not all doom and gloom.  There’s a lot of hope on this fine power pop album, and we all need a lot of that right now.

#18 – Thundercat – Drunk

I didn’t expect to pick up a jazz fusion record this year, but this one is certainly outstanding and was all over the place in 2017.  It made the top of many lists, too, and for good reason.  It’s an incredible concept album about the day in the life of a guy who parties too much and knows he’ll probably regret it later.  It’s the closest we’ll get to a Frank Zappa album any time soon.

#17 – Priests – Nothing Feels Natural

As I mentioned in an earlier post, I got on a big post-punk kick this year and albums like this are the reason why.  It’s a vicious takedown on corporate bigwigs, consumerism, and greed, and the music is sharp as a hatchet.

#16 – The Black Angels – Death Song

If you know me, then you’re not surprised that a Black Angels record made my top 30.  They’re one of my favorite bands, and this album is one of their hardest-hitting in a long while.  It, too, is a bit of a reaction to the 2016 election and the country we’re now living in and seeing on the nightly news, but the Black Angels also let us know that all things are transient and this, too, will pass.

We’re halfway to home!  Who makes the cut?  Come back soon to find out.

Keep your mind open.

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Top live shows of 2017: #’s 15 – 11

We’re halfway through my list of top live shows of the year.  Who’s in the top half?

#15 – Tom Petty and the Heartbreakers – Scottrade Center – St. Louis, MO May 12th.

This was an impressive show with a sold-out crowd.  Tom Petty and his crew had a fun time tearing through a lot of classic hits, and the performance took on a deeper meaning to my wife and I after Petty’s death at the end of this tour.  We’d wanted to see him for a long while, so we were thankful we caught him in time.

#14 – Buddy Guy – Lerner Theatre – Elkhart, IN September 9th.

Blues legend Buddy Guy is pushing 90 and still shredding better than guitarists a third of his age.  He dazzled with his skill and spoke openly about the importance of love and compassion in these tough times.

#13 – Depeche Mode – Air Canada Centre – Toronto, ON September 3rd.

Depeche Mode were a big part of our high school years, so it was surprising that it took my wife and I so long to finally catch them live.  It was a solid set with new and classic tracks and one of the best encores we saw all year.

#12 – Deap Vally – Valley Bar – Phoenix, AZ March 11th.

Deap Vally are easily one of the best live bands of this decade.  This set at Phoenix’s VIVA PHX festival was a stunner.  I always feel bad for any band that has to follow them, and getting to chat with them after the show was an added treat.

#11 – The Black Angels – Thalia Hall – Chicago, IL May 11th.

I won’t skip an opportunity to see the Black Angels.  I’ve already bought tickets to see them at next year’s Levitation Austin festival.  This set in Chicago was a great start to a fun weekend with my wife, and the Black Angels played more aggressively than I’d seen them in a long while.

Who cracks the top 10?  Tune in tomorrow to find out!

Keep your mind open.

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The Black Angels – Death Song

It shouldn’t surprise anyone that the Black Angels named their newest record Death Song, considering the name of their band comes from the Velvet Underground tune “The Black Angel’s Death Song.” The surprise might be that it took them so long, especially when you consider how many of their songs are about death. I think they were waiting for the right time, and the right time came after the 2016 election.

Death Song opens with the hard-hitting “Currency,” in which lead singer Alex Maas sings lyrics like “You print and print the money that you spend, you spend and spend the money that you print. One day it will all be over.” It’s a scathing takedown of corporate greed and the way it crushes the working class (“You’ll pay with your life, a slave nine to five.”). Meanwhile Christian Bland’s guitar sounds like an alarm klaxon and Stephanie Bailey crushes her kit.

“I’d Kill for Her” continues the theme of death and has the band firmly in dark psychedelia thanks to Kyle Hunt’s soaring synths and plenty of reverb on the guitars. The length of “Half Believing” is 4:20. Coincidence? Perhaps, but perhaps not when you hear its guitars simmering like a brew you might drink in a sweat lodge ceremony. On its face, the song is about Maas being wary of falling in love with a woman who might be treacherous. However, it’s easy to consider the song is subtly about concerns over civil rights and support for the arts over the next couple years (i.e., “I will die for things that mean so much to me. If you take them, you’d better watch out.”)

The guitars on “Comanche Moon” swirl around you like ghosts. Maas sings about the plight of the Comanche nation, and I can’t help but wonder if the Black Angels were inspired to write it when they saw coverage of the Dakota Access Pipeline protests. The near-funk bass of “Hunt Me Down” sets the tone for one of the grooviest tunes the Black Angels have released in a long while. Maas can’t escape another potentially dangerous woman (or is it the Grim Reaper?) who dogs him no matter the time of day or the place.

“Grab as Much (as You Can)” is lovely psychedelia, and the additional skewering of corporate greed is inescapable even as Maas sings about an amorous encounter with that mysterious, dangerous lady. The instruments on “Estimate” sound far away (as Bailey taps out a military procession march and Bland strums a simple, yet haunting riff), yet Maas’ vocals are immediate and almost pleading as he pledges to not get caught up in a They Live type of world but admits it’s difficult to avoid (“It’s kind of seductive.”).

“I Dreamt” is appropriately trippy and a bit frightening. The keyboards and guitars come at you from all sorts of angles, and Bailey practically lays down a house music beat. Maas takes on the role of a dreamweaver / wizard / shaman who offers to help us manage reality and the dream world (but which is which?).

“Medicine” has electro-beats behind Bailey’s rock ones, and spaghetti western guitars mixing with Hunt’s groovy keyboards. “Death March” is easily the trippiest song on the record. Maas’ vocals bounce all over the place, and the reverb on the guitars is enough to drop your mind down a rabbit hole to Wonderland. The album ends with “Life Song,” which seems to be from the perspective of a ghost who longs to be reunited with his love in the next world. It’s a lovely, soaring track that’s a fine send-off for an album (with a great, fuzzy solo from Bland) about death and dark times.

Death Song is another strong release from the Black Angels and further establishes them as one of the powerhouses of modern psychedelic rock.

Keep your mind open.

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