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.
[I’ll feel hollow if you don’t subscribe.]
