Review: The Besnard Lakes – The Besnard Lakes Are the Last of the Great Thunderstorm Warnings

Montreal, Québec’s The Besnard Lakes have returned with a massive, yet not too heavy album, that, like its predecesors, has a cryptic title. This one is The Besnard Lakes Are the Last of the Great Thunderstorm Warnings. What is this thunderstorm of which they wish to warn us? It’s the storm we all must face – death.

Written over the course of 2019, when COVID-19 was emerging, claiming lives, canceling plans, and changing the world by forcing all of us to look impermanence square in the face, the album is a stunning piece of work. It’s even more impressive when you consider that frontman Jace Lasek‘s father also died the same year. Processing his grief, and visions his father spoke about on his deathbed, led to Lasek confronting the Grim Reaper head-on. The band also paid tribute to two legendary musicians and songwriters – Mark Hollis (who also died in 2019) and Prince (who had died three years earlier).

The album’s four sides are titled “Near Death,” “Death,” “After Death,” and “Life.” It is an album of sadness, grief, love, and peace. The opening track, “Blackstrap,” brings Pink Floyd‘s Dark Side of the Moon to mind with its echoing guitars and sampled telephone busy signal. The title might refer to a type of molasses, and how sadness might feel like being stuck in it. The song crawls along like an old but happy cat with its thumping bass and psychedelic synths.

“Raindrops” has the kind of cool bass groove that only Olga Goreas seems to be able to create, and Lasek’s vocals move back and forth between dreamy simplicity and falsetto flashes that he seems to do with ease. The warped, distorted “Christmas Can Wait” is one of the tracks honoring Lasek’s late father. The song melts and reforms into a mix of psych and synthwave that is so good that it’s almost unbelievable.

“Our Heads, Our Hearts on Fire Again” brings brightness breaking through the clouds with vocal styling that reminds me of The New Pornographers, a string section, a brass section, and possibly a Venusian choir for all I know. It’s a tonal shift on the album, and a brilliant one (on an album that’s already brilliant up to this point).

“Feuds with Guns” is the shortest track on the album at a little over four minutes, but it doesn’t feel any less expansive. The organ and drums seem to rise up from a desert canyon, and Lasek’s vocals seems to glide down with a setting sun. “The Dark Side of Paradise” again brings Pink Floyd to mind, but adds shoegaze elements to the psychedelia for a trippy brew. Lasek’s vocals sometimes disappear into the synths and guitars, blurring the line between which shadows the other until the song transforms into a beautiful instrumental.

“New Revolution” breaks through the pallor of death with bright guitars, healthy heartbeat drums, and vocals brimming with hope and joy. “The Father of Time Wakes Up” in the band’s tribute to Prince. It’s a lovely one that doesn’t overdo it with wild guitar solos or funk jams. It keeps the psychedelic riffs and hypnotizing bass and uses a simple, but effective guitar solo as Lasek sings, “You’ve been hurting since the father of time woke up.” (and moved onto another plane). Haven’t we all? The chorus of “With love, there is no time.” is a wonderful reminder of a universal truth that is easy to forget.

“Last of the Great Thunderstorm Warnings” takes up the entire fourth side of the album. It’s a glorious track of nearly eighteen minutes with The Besnard Lakes helping us get up from the ground, to walk out of the dark, and to let go of attachments so we won’t be dragged by them. The horn section returns and drums blend with real thunder to bring a cleansing sound. The song drifts into the sounds of wind and simple synths to become a meditative experience (doubly so, as I discovered, if you play it while next to an open window and birdsong naturally blends with it).

It’s a gorgeous record by a band operating at the height of their powers, and an uplifting album as we emerge from a pandemic and a divisive election (here in the U.S., at least), and strive to move forward from anger and fear.

Keep your mind open.

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Review: Dead Ghosts – Automatic Changer

Dead Ghosts don’t waste time on their latest record – Automatic Changer. The Canadian psychedelic outfit gets freaky right away with opening track “Freak,” which is heavy on trippy guitars and most of the vocals are heavily reverberated shouts.

The first single from the record, “Drugstore Supplies,” has a fun, fast buzz to it that sounds more San Francisco than Vancouver. “Swiping Hubcabs” seems to bend back upon itself as swingin’ 60’s organ sounds swell around you. The beats, harmonies, and guitars of “Holdin’ Me Down” are positively Beach Boys, but with a lot more fuzz – which is not a bad thing.

“Blackout” packs a loud punch and brings in garage rock elements to great effect, and the breakdown on it (complete, I think, with coughing from someone smoking too much…something) is outstanding. “You Got Away” keeps the garage rock coming, and “Turn It Around” brings in some psych-country to the mix. Check out that lead guitar if you don’t believe me. “Merle” keeps this flavor, but also adds some groovy hippy road music to the mix. It brings to mind images of driving down a sunny road in your shaggin’ wagon with all the windows down and the 8-track blaring.

The weird, warped guitars on “Jerry’s Dead” are as liquid and thick as lava lamp goo, and that addition of distant saxophone squawks is a great touch. The chugging riffs of “It’s Been Too Long” push that shaggin’ wagon’s pedal to the metal as they sing about missing a girl (“It’s been too long since I saw you…”). Is it coincidence that the next song is called “In and Out” (a euphemism for sex in A Clockwork Orange), or that the song lasts under two minutes?

The opening drum fill on “Tell Me How” is worthy of a disco track and then the song becomes a booming psych-surf track. The title track moves along like a rickety but dependable truck hauling a bunch of surfers to the beach or hippies to a love-in. “Bad Vibes” is surprisingly upbeat with surf riffs hopping around the forefront of it. It flows (or perhaps, “oozes” is a better way to describe it) into the aptly named final track, “Say Goodbye” – a short, spaced-out fuzzy jam.

It’s a fun record filled with groovy guitars, indiscernible lyrics, garage rock drums, and solid bass that will automatically change your mood when you hear it.

Keep your mind open.

https://www.youtube.com/watch?v=EsrC_eBKHzk

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Review: Elephant Stone – Hollow

I first heard most of Elephant Stone‘s new album, Hollow, at the 2019 Levitation Music Festival in Austin, Texas when they played a good chunk of it on the inside stage at Barracuda. I’d heard a couple of tracks ahead of the gig and was intrigued by the heavier-than-normal sound. That sound was even heavier live, and the theme of the album – a story set in an apocalyptic future in which people are trying to flee a dying Earth to another planet – takes on even more weight when you hear it live and / or in its entirety.

The album opens with “Hollow World” – a track brimming with Elephant Stone‘s trademark psychedelia and lyrics about having to finally say goodbye to Mother Earth because the human race has succeeded in destroying it. “Darker Time, Darker Space” is a quick interlude as doomed Earthlings fly into unknown space in hopes of finding something better.

“The Court and Jury” decide who leaves, however. Lead singer / bassist / sitarist Rishi Dhir‘s vocals sound like they’re coming through a faulty intercom system on an old spacecraft and his sitar sounds like circuits working overtime as the ship lands on the “Land of Dead.” This was the first track I heard off Hollow. The bass and drums are heavy and the guitar shreds for just under two minutes of raw power.

“Keep the Light Alive” brings in a children’s choir to represent the new generation of Earthlings alone on what could be a hostile new world. “This place is far too cold,” Dhir sings on “We Cry for Harmonia.” The Earthlings are quickly realizing the new planet might end up as wasted as the old one (“How can you fill this space with air you cannot breathe?”). Gabirel Lambert‘s guitar solo on this track is top-notch, by the way, and the backing synths and hand percussion only elevate the song higher.

“Harmonia” is dreamy psych accented by Dhir’s sitar and more of that groovy hand percussion. Dhir’s bass takes center stage on “I See You” (and how about that wicked high-hat work by Mile Dupire, too?) – a groovy track with some light pop touches that could be a radio friendly smash if enough DJs give it a chance.

“The Clampdown” isn’t a cover of The Clash song (although that would be great), but rather a song about the Powers That Be coming after those of Earth living in underground communities. The dark synths underline the menace of the lyrics. The synths are bright on “Fox on the Run” – the title of which seems to reflect the hunted Earthlings making another run for it. “House on Fire” has the Earth, or is it the new world, burning while people try to ignore it. The guitar on it is like a distant warning klaxon, but the synths are still bright – giving us some hope while things crumble around us. The album closes with more hope on “A Way Home.” The Earth has been all but abandoned, but the ones who remain realize they can repair it and build something new while old karma continues to build new paybacks on the new world inhabited by the privileged few.

It’s a wild record, and I don’t think anyone expected a concept album with doom overtones from Elephant Stone, but it’s great that they’re pushing the envelope and exploring new avenues.

And, yeah, the new stuff sounds great live.

Keep your mind open.

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Elephant Stone announces spring North American tour.

Following the release of their new concept album, Hollow, Elephant Stone have announced a spring North American tour starting with a free show in Winooski, Vermont and ending in Chicago, Illinois. All tour dates are with DJ Al Lover, with whom Elephant Stone‘s lead singer / bassist / sitarist Rishi Dhir has worked in the past with their Acid House Ragas project. Tickets are available for all dates.

4/29 Winooski VT @ Foam Brewers FREE SHOW
4/30 New Haven CT @ State House TICKETS
5/1 Brooklyn NY @ The Sultan Room TICKETS
5/2 Allentown PA @ Muhlenberg College TICKETS
5/3 Washington DC @ Comet Ping Pong TICKETS
5/5 Cleveland OH @ Beachland Tavern TICKETS
5/6 Indianapolis IN @ Square Cat Vinyl TICKETS
5/7 Windsor ON @ Meteor TICKETS
5/8 Milwaukee WI @ Milwaukee Psych Fest TICKETS
5/9 Chicago IL @ Sleeping Village TICKETS

Keep your mind open.

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Elephant Stone release new single, “Hollow World,” and upcoming European tour dates.

Album cover art

Elephant Stone has announced a new concept album, Hollow, about people fleeing the Earth after destroying it only to find the beliefs, biases, and illusions that drove them to ruin their first home have followed them to the new one. As frontman Rishi Dhir explains:

“This is a straight-up concept album. If social media has taught us anything, it’s that there are a lot of unhappy people out there who are trying to find a way out. They are looking for meaning and something to believe in… or nothing to believe in. We all want the same thing but are trying to achieve it in different ways. With this in mind, we wrote and recorded our 6th full-length, Hollow. I set forth writing a song-suite telling of a world of unhappy souls who have lost connection with each other.” The result is an ambitious, dystopian sci-fi concept album inspired by The Who’s ‘Tommy’, Pretty Things’ ‘S.F, Sorrow’ and Abbey Road side 2.

“From Side A (‘The Beginning) through to Side B (‘The Ending’), the story takes place immediately after mankind’s catastrophic destruction of the Earth and what happens when the same elite responsible for the first world-destroying climate disaster touch down on New Earth, a recently-discover planet sold with the same life of prosperity as the one they’d just destroyed. As soon as the chosen few step off the Harmonia ship built for the journey, it’s clear that all is not what it seems and humanity appears destined to make the same mistakes: the storyline touches upon the plundering/poisoning of their home, the elite, demagogues, false idols, the truth as seen by children, and, ultimately, the fight for the survival of their species.”

The album is available for pre-order with lots of neat bundles for your enjoyment (T-shirts, buttons, hot pink vinyl, and more). “Hollow World,” a new single from the album, can be heard here. The band has also announced a tour through Europe this winter, dates are below.

Keep your mind open.

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Dead Ghosts announce new album, “Automatic Changer,” and U.S. west coast tour.

Canadian garage rockers Dead Ghosts have announced that their new album Automatic Changer, will be available on vinyl, cassette, CD, and streaming on April 24, 2020. The album will be Dead Ghosts 3rd release with southern California independent label, Burger Records.

Automatic Changer is a record that formed over the past half-decade, and
serves as a sort of collage of the band’s experience and changing songwriting
over that period. Vocalist/guitarist Bryan Nicol said of the writing/recording
process and the resulting album, ”parts have been recorded in a studio, our
basement, and a barn. Some songs are abstract, lyrically built around words
we like the sounds of and others are more personal.” 
Formed nearly a decade ago in Vancouver, Canada, Dead Ghosts grew out of
founders Byran Nicol (vocals/guitar), Drew Wilky (guitar), and Mike Wilky’s
(drums) desire to hang out, listen to records and play music. After the trio
uploaded a few demos to Myspace, this was 2008, after all, the group were
offered the opportunity to release a single via a small Iowa-based punk label.
The single quickly led to the group’s first full-length self-titled album. By 2015
the group had joined the Burger Records roster and released two more
albums, Can’t Get No and Love and Death and All the Rest. With time the
band added two members, bass player Mauricio “Moe” Chiumento and
organist Craig Pettman. Playing a distinctive brand of swaggering, blues-
infused lo-fi rock, the five-piece quickly won over transatlantic fans and scored fresh fodder for their lyrics with their punk-rock antics.    

In preparation for their upcoming release, the group has decided to embark
on a short West Coast tour starting in late October. The show set will include
several songs from Automatic Changer.
Oct 26 – Olympia – Cap City presents @ Le Voyeur 
Oct 28 – Reno – HP presents @ The Holland Project 
Oct 29 – Costa Mesa – Live Nation Presents @ Constellation Room
Oct 31 – LA – Minty Boi Presents Halloween @ El CID 
Nov 1 – Phoenix – Psyko Steve Presents  @ Lunchbox 
Nov 3 – SF – Folk YEAH Presents @ The Chapel 
Nov 4 – Portland @ Star Theatre
Nov 5 – Seattle – The Crocodile presents @The Sunset 
Nov 6 – Vancouver – MRG Presents @ The Biltmore

Keep your mind open.

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