Founded by Marcos Garcia and featuring Chico Mann (guitar, vocals), a former member of renowned Afrobeat act Antibalas; Geoff Mann (drums); Rich Panta (percussion); JP Maramba (bass); and Kris Casto (organ), the Los Angeles, CA-based act Here Lies Man was created specifically as a way to bridge the funky polyrhythms and grooves of Afrobeat with the power chord, riff-based muscle of heavy rock — and the result is novel and modern take on both heavy rock and Afrobeat. As the band’s Garcia explained in press notes “These repetitive guitar figures that happen in Afrobeat music are pretty close to heavy rock guitar riffs. It’s based on the clave. It’s the musical algorithm that the rhythms revolve around. That’s what gives it integrity and is part of this musical conversation going on. I knew I wanted it to be psychedelic and heavy, and I wanted to be expanding on a musical tradition than pretending to be creating something new.”
Now, if you’ve been frequenting this site over the early part of this year, you may recall that I wrote about “You Ain’t Going Nowhere,” the first single off the band’s forthcoming self-titled album, slated for an April 7, 2017 release through RidingEasy Records and to my ears, that single managed to sound as though Black Sabbath had covered “I.T.T. (International Thief Thief) Parts 1 and 2“-era Fela Kuti as towering layers of guitars played through buzzing effects pedals, twinkling and distorted synths, propulsive polyrhythm and a deep, driving groove are paired with soulful yet ethereal vocals floating over an overall sound that’s funky yet psychedelic, and strangely dance floor and mosh pit friendly.
The self-titled album’s second and latest single “When I Come To” continues along a similar, psychedelic vein as layers of buzzing guitars are paired with propulsive polyrhythms and a driving, forceful groove, shouted vocals and towering organ chords making it a seamless synthesis of hard psych/hard rock/heavy metal with Afrobeat — while sounding as though it could have been released in roughly 1975; but with a modern touch.