Tag: The Black Angels

Video by William Ruben Helms

Lyric Video: MIIEN Shares Dreamy AND Meditative “Mirror”

MIEN is a psych rock super group that features some of the genre’s biggest and most accomplished artists:

Since the project’s inception, MIEN has been a confluence of diverse musical influences and shared histories: The band’s origins can be traced back to 2004 when Dihr crossed paths with Maas during a serendipitous encounter at SXSW. That meeting sparked a deep friendship and a series of critically applauded collaborations, including famously, The Black Angels’ 2008 effort, Directions to See a Ghost. Around the same time, Dihr met Lapham, whose electronic and production expertise would later become a cornerstone of MIEN’s sound. These connections led to MIEN, a band that sees its members seamlessly blending their varied musical backgrounds into a unique sound. The band’s newest member Kidd joined on in 2018. 

The psych supergroup’s long-awaited sophomore album MIIEN was released earlier this month through Fuzz Club. The sophomore album marks a bold new chapter for a band known for an alchemical approach to their work. Building upon the foundations of their critically applauded self-titled debut, MIIEN finds the band and its members pushing their collaborative and explorative ethos into uncharted territories. 

Recorded in studios between Montréal, Abilene and Austin, the psych supergroup’s sophomore album captures a unique creative process: Most songs began as a simple idea — a loop, a vocal phrase or a groove — passed between members and meticulously layered.

The band’s collaborative workflow saw each individual sketch evolving as each member contributed their distinct sonic palette. “It’s an organic process,” Rishi Dihr says. “A simple idea can become something monumental when we each put our stamp on it.” 

The album’s creative journey was heightened during key in-person sessions, including an intensive recording period in Austin during SXSW. The rare opportunities for the band to work together in the same space added a dynamic immediacy to several album tracks. 

Overall MIIEN represents the strength of the band’s collective vision. Each member brings their unique perspective to the table, creating music that is simultaneously personal and universally resonant. Anchored around richly textured soundscapes and fearless experimentation, the album, purportedly sees the band crafting material that actively bridges the golden age of 60s psychedelia with the cutting edge of modern music. Lapham reflects, “Working with these guys has been one of the most enjoyable experiences in my music career. Our synergy is seamless, and I’m excited to see where this next chapter takes us.”

In the lead-up to the album’s release, I wrote about two of the album’s previously released singles:

  • “Evil People,” a propulsive bit of synth-driven psych rock featuring a relentless motorik-like groove paired with Maas imitable delivery and a rousingly anthemic hook and chorus with expressive bursts of reverb-drenched guitar. “‘Evil People’ has its roots in a 2015 collaboration between Alex and awesome Danish musician Trentemøller,” the band explains. “Fast forward to March 2022, when MIEN reunited in Austin for three intense days of recording during SXSW. Given how rare it is for all of us to be in the same room at the same time, the creative energy was electric—music and ideas flowed effortlessly, and ‘Evil People’ was born.”

  • “Empty Sun” which features Alex Maas’ imitable vocal floating over a menacing and uneasy motorik pulse with bursts of woozy strings and complex rhythmic patterns, including a breakbeat section that The Crystal Method and The Chemical Brothers would swoon over. It’s arguably the trippiest groove the band has written to date. “Like many of our songs, ‘Empty Sun’ began as a series of loops paired with a lyric-less vocal demo from Alex” the band explains. “From there, Alex and Robb laid down the initial ideas before passing it along to the rest of us. The track sat untouched for a while until John Mark revisited it, shaping it into something new with distinct sections, samples, and layers of Solina string machine. To lock in the groove, Robb returned to the studio, recording what felt like countless drum takes to perfect the complex patterns and make them as “mean” (MIEN) as possible. As the track evolved, Rishi teamed up with Elephant Stone guitarist Robbie to layer in massive, warped guitar textures that brought ‘Empty Sun’ roaring to life.”

MIIEN‘s latest single “Mirror” is a dreamy, lullaby-like song centered around a strummed melodic figure, a shuffling rhythmic pattern, quivering synths serving as a lush, meditative bed for an dreamy and plaintive vocal turn from Alex Maas.

“‘Mirror’ is one of only a small handful of songs that started life when we were all together, which always immediately makes a song feel special to us,” the psych rock supergroup explains. “We generally record in our own separate spaces and swap files, but this one came to life while we were rehearsing for our first tour back in 2018. ‘Mirror’ is the sound of a band coming together and working intuitively rather than logically, and for that it stands out as one of our strongest achievements.”

Video by William Ruben Helms

New Video: MIEN Shares Menacing and Groovy “Empty Sun”

MIEN is a psych rock super group that features some of the genre’s biggest and most accomplished artists:

Since the project’s inception, MIEN has been a confluence of diverse musical influences and shared histories: The band’s origins can be traced back to 2004 when Dihr crossed paths with Maas during a serendipitous encounter at SXSW. That meeting sparked a deep friendship and a series of critically applauded collaborations, including famously, The Black Angels’ 2008 effort, Directions to See a Ghost. Around the same time, Dihr met Lapham, whose electronic and production expertise would later become a cornerstone of MIEN’s sound. These connections led to MIEN, a band that sees its members seamlessly blending their varied musical backgrounds into a unique sound. The band’s newest member Kidd joined on in 2018. 

The psych supergroup’s long-awaited sophomore album MIIEN is slated for an April 18, 2025 release through Fuzz Club. The sophomore album reportedly marks a bold new chapter for a band known for an alchemical approach to their work. Building upon the foundations of their critically applauded self-titled debut, MIIEN finds the band and its members pushing their collaborative and explorative ethos into uncharted territories. 

Recorded in studios between Montréal, Abilene and Austin, the psych supergroup’s sophomore album captures a unique creative process: Most songs began as a simple idea — a loop, a vocal phrase or a groove — passed between members and meticulously layered.

The band’s collaborative workflow saw each individual sketch evolving as each member contributed their distinct sonic palette. “It’s an organic process,” Rishi Dihr says. “A simple idea can become something monumental when we each put our stamp on it.” 

The album’s creative journey was heightened during key in-person sessions, including an intensive recording period in Austin during SXSW. The rare opportunities for the band to work together in the same space added a dynamic immediacy to several album tracks. 

Overall MIIEN represents the strength of the band’s collective vision. Each member brings their unique perspective to the table, creating music that is simultaneously personal and universally resonant. Anchored around richly textured soundscapes and fearless experimentation, the album, purportedly sees the band crafting material that actively bridges the golden age of 60s psychedelia with the cutting edge of modern music. Lapham reflects, “Working with these guys has been one of the most enjoyable experiences in my music career. Our synergy is seamless, and I’m excited to see where this next chapter takes us.”

Last month, I wrote about “Evil People,” a propulsive bit of synth-driven psych rock featuring a relentless motorik-like groove paired with Maas imitable delivery and a rousingly anthemic hook and chorus with expressive bursts of reverb-drenched guitar. “‘Evil People’ has its roots in a 2015 collaboration between Alex and awesome Danish musician Trentemøller,” the band explains. “Fast forward to March 2022, when MIEN reunited in Austin for three intense days of recording during SXSW. Given how rare it is for all of us to be in the same room at the same time, the creative energy was electric—music and ideas flowed effortlessly, and ‘Evil People’ was born.”

MIIEN‘s latest single “Empty Sun” features Alex Maas’ imitable vocal floating over a menacing and uneasy motorik pulse with bursts of woozy strings and complex rhythmic patterns, including a breakbeat section that The Crystal Method and The Chemical Brothers would swoon over. It’s arguably the trippiest groove the band has written to date.

“Like many of our songs, ‘Empty Sun’ began as a series of loops paired with a lyric-less vocal demo from Alex” the band comment. “From there, Alex and Robb laid down the initial ideas before passing it along to the rest of us. The track sat untouched for a while until John Mark revisited it, shaping it into something new with distinct sections, samples, and layers of Solina string machine. To lock in the groove, Robb returned to the studio, recording what felt like countless drum takes to perfect the complex patterns and make them as “mean” (MIEN) as possible. As the track evolved, Rishi teamed up with Elephant Stone guitarist Robbie to layer in massive, warped guitar textures that brought ‘Empty Sun’ roaring to life.”

The accompanying video by the band’s John Mark Lapham features 1960s-styled collage artwork that includes pages from books, irises staring back at you, geometric patterns and more.

indie rock by William Ruben Helms

Founded by the members of the acclaimed Austin-based psych outfit The Black Angels and a collection of friends back in 2008 as a wholly DIY event, Austin Psych Fest expanded over the next handful of years into an international destination for the underground psych music scene. Since the inaugural festival, its organizers have sought to create a thriving center locally for the city’s independent music scene and internationally in the home of psych rock.

The event was renamed LEVITATION in tribute to legendary Austin-based psych rock outfit The 13th Floor Elevators, who reunited to play the festival in 2015.

Austin Psych Fest returned earlier this year, celebrating its 15th anniversary with a three-day throwback to its original, multi-stage, single venue format, bringing back a more intimate gathering for the Spring, while the sprawling LEVITATION will continue to take place in the Fall.

Austin Psych Fest is here to stay. And the 2024 edition of the festival will take place at the historic The Far Out Lounge during the weekend of April 26, 2024 – April 28, 2024. 2024’s edition will bring the old school vibe of the original event back outdoors and under the stars and oak trees at The Far Out Lounge’s sprawling backyard.

The upcoming Austin Psych Fest features an international slate of psych rock, dream pop and indie rock that simultaneously nods to the 1960s psych rock golden age with an eye towards the future. 2024’s lineup will feature Courtney Barnett headlining on April 26, along with Chicano Batman, Psychedelic Porn Crumpets, Orions Belte and more. JOVM mainstays The Black Angels will headline the festival’s second day, April 27 — and their set will feature the premiere of a new visual collaboration with TV Eye. That day will also see sets from All Them Witches, JOVM mainstays Frankie and The Witch Fingers, L.A. Witch, Japanese kraut rockers Minami Deutsch and more. The festival’s third and final day will feature a headlining set from Alvvays, and sets from JOVM mainstays Still Corners, Kurt Vile and the Violators and more. The full lineup is below.

Mind-bending liquid light and visuals will be provided by video artists Mad Alchemy, TV Eye and drip//cuts.

The LEVITATION Presale for both LEVITATION ’23 and Austin Psych Fest ’23 ticket customers went live earlier today and is here.

General public on-sale is tomorrow, December 15, 2024 at 10:00AM CST. You can check that out here.

AUSTIN PSYCH FEST LINEUP:

FRIDAY, APRIL 26 
COURTNEY BARNETT • CHICANO BATMAN 
PSYCHEDELIC PORN CRUMPETS
NO VACATION • LIDO PIMIENTA
LEVITATION ROOM • TROPA MAGICA
BRAINSTORY • ORIONS BELTE

SATURDAY, APRIL 27
THE BLACK ANGELS • ALL THEM WITCHES
WITCH • FRANKIE AND THE WITCH FINGERS
EARTHLESS • L.A. WITCH • HOOVERiii
MINAMI DEUTSCH • GHOSTWOMAN

SUNDAY, APRIL 28
ALVVAYS • KURT VILE & THE VIOLATORS
DEHD • YELLOW DAYS • STILL CORNERS
BLONDSHELL • MIKAELA DAVIS

& MORE TO BE ANNOUNCED!

Video by William Ruben Helms

Lyric Video: JOVM Mainstays Elephant Stone Shares Ethereal Yet Politically Charged “History Repeating”

Brossard, Québec-born, Montréal-based singer/songwriter and multi-instrumentalist Rishi Dhir is a grizzled indie rock and psych rock veteran , who has played in a number of bands, including The Datsons and The High Dials. He is also an in-demand sitarist and bassist, who has collaborated with Beck, The Brian Jonestown Massacre, The Black Angels, The Soundtrack of Our Lives, The Dream Syndicate, psych rock supergroup MIEN and countless others. 

Dhir founded the acclaimed psych rock outfit and JOVM mainstays Elephant Stone back in 2009. Along with collaborators and bandmates Miles Duper (drums), Gab Lambert (guitar), Robbie MacArthur (guitar) and Jason Kent (keys, guitar), the Montréal-based band has released six albums, including 2013’s self-titled album and 2020’s acclaimed Hollow. They’ve also released a handful of EPs including last year’s Francophone Le Voyage de M. Lonely dans la Lune. Each of those efforts has seen them develop, refine and firmly cement a sound that frequently incorporates elements of traditional Indian classical music with Western psych rock paired with introspective lyrics rooted in Dihr’s personal experiences. 

Dihr’s own journey in music frequently found him tryin to find a place that fit him, until he decided that what he made was worth sharing in the space that he had created for himself. “I only write about what I know and think I understand. As long as there’s Rishi, there’s going to be Elephant Stone,” Dhir says in press notes. 

2023 has been a busy year for the Canadian psych rock outfit: Earlier this year they released Dawn, Day, Dusk, which featured “Godstar,” and “The Imajinary, Nameless Everybody In The World.” Those two tracks saw the band continuing their narrative journey through crating material that deftly balanced human complexity with introspective themes paired with an evolving sound.

They followed that up with “Lost In A Dream,” a song built around a Tame Impala-like groove, while continuing their long-held reputation for dexterous guitar work, catchy hooks and introspective lyrics. “Creating ‘Lost In A Dream’ has been a thrilling journey for us, one where the fascination with dreams and their mysterious ties to reality took center stage,” the band’s Rishi Dhir says. “While there are subtle hints of inspirations like The Nazz’s ‘Open My Eyes‘ and Echo and the Bunnymen‘s ‘Killing Moon,’ this song is really about charting our own musical course. We’ve woven an auditory landscape that we hope allows listeners to dive into their thoughts and dreams. It’s all about losing yourself in the music, in the narrative it spins, and finding a resonance within your own life.”
 

Elephant Stone’s highly-anticipated seven album, Back Into the Dream is slated for a February 23, 2024 release. The album will reportedly feature a harmonious blend of introspective lyrics and entrancing melodies that represent the latest culmination of their musical evolution. Thematically, the album explores the mysteries of dreams, capturing the cycle of sleep and wakefulness. As the band’s Dhir puts it, “Our music aims to bridge the gap between the known and the unknown.” Previously released tracks “Godstar” and “The Imajinary, Nameless Everybody in the World,” draw from the themes of Isaac Asimov’s Foundation, delving into the intricacies of human existence, creation, life and death while “Lost In A Dream,” is an exploration of dream-like states and blurred realities. 

Last month, I wrote about Back into the Dream single “The Spark,” a breezy power pop-meets-jangle-pop take on psych pop built around soaring electric guitar, strummed acoustic guitar and Dihr’s earnest, plaintive falsetto paired with the band’s unerring knack for crafting enormous, remarkably catchy hooks and choruses.

“Crafting a song is like tapping into a kind of magic that exists beyond the realm of the ordinary. I’m in perpetual pursuit of that elusive sensation—the spark that turns fleeting thoughts into something immortal,” the band’s Rishi Dhir admits. “’The Spark’ is my love letter to the art of songwriting, a tribute to the creative process itself. It’s about that serendipitous moment when time and space align, allowing you to capture lightning in a bottle.”

Back into the Dream‘s third and latest single “History Repeating” sees the band blending their dreamy, 60s psych sound with slick, modern and hi-fi flourishes: The track is built around an arrangement of swirling and washed out tambourines, jangling, reverb-soaked guitar, twinkling keys, glistening synths paired with Dihr’s plaintive delivery. But despite the song’s ethereal nature, the song lyrically is centered around Canadian indigenous history, serving as a plea for reparations owed to the country’s First Nations people.

“History has a haunting tendency to repeat itself, from the scars of colonialism to the rise of authoritarian regimes,” says frontman and songwriter Rishi Dhir. “It’s as if we’re trapped in a loop, forever replaying the same tragedies. ‘History Repeating’ is my way of confronting these harsh realities, particularly as they relate to my home country of Canada, which was built on the deeply troubling foundations of genocide and ethnic cleansing targeted at Indigenous peoples. In recent years, thanks to the Truth and Reconciliation Commission, the appalling truths about our past have been laid bare…This song serves as an urgent plea: let’s break the cycle. Let’s learn from the darkest chapters of our history to create a more just and compassionate future.”

Video by William Ruben Helms

New Video: JOVM Mainstays The Black Angels Share a Scorching Ripper

Austin-based JOVM mainstays  The Black Angels —  currently Alex Maas (vocals, bass), Christian Bland (guitar), Stephanie Bailey (drums), Jake Garcia (guitar) and multi-instrumentalist Ramiro Verdooren — released their sixth album Wilderness of Mirrors last fall through through Partisan Records. Co-produced by the band and Brett Orrison with engineering by John Agnello, Wilderness of Mirrors finds the band attempting to achieve something fresh and new through a gentle and subtle refinement of the sound that has won them fans across the globe. 

Throughout the album’s material, the band adds mellotron, string arrangements and an assortment of different keyboards to the mix, which adds different textures to their overall sound. Thematically, the album continues upon their long-held reputation for touching upon contemporary concerns — in particular, our uncertain and urgent moment of political tumult, the pandemic, and the ongoing devastation of the environment and its long-term implications to us and our descendants, among others. 

Late last year, I wrote about four of the album’s released singles:

  • “El Jardín,” a single, which at first glance is classic Black Angels: Bailey’s thunderous time keeping, Maas’ plaintive falsetto and supple bass lines paired with layers upon layers of guitar pyrotechnics and effects from Bland and Garcia — but the song’s sparking and brooding bridge sees the band adding bursts of twinkling Rhodes to the mix. Written from the perspective of our dear Mother Earth, “El Jardín” is a forceful and urgent warning to all of us: destroying the environment will ultimately lead to the destruction of humanity. 

  • “Firefly,” a loving yet classic Black Angels-like homage to 60s French pop, featuring a guest spot from Thievery Corporation‘s LouLou Ghelickhani, who contributes sultrily delivered vocals in French and English, alongside Maas’ imitable falsetto and paired with a hook-driven arrangement featuring reverb-drenched guitars, Maas’ supple and propulsive bass lines, some simple yet forceful timekeeping from Bailey and twinkling keys. 

  • “Without A Trace,” a bit of classic, Passover through Directions to See a Ghost-era Black Angels centered around fuzzy and distorted power chords, a reverb-drenched guitar solo, Bailey’s thunderous and propulsive time keeping paired with Maas’ imitable vocal delivery and supple bass lines. The song sonically and thematically is an eerie and brooding meditation that asks “is is still possible to be invincible when everyone else is expendable.” 

  • “Empires Falling,”  a scorching, politically charged ripper that examines humanity’s repetitive art of violent mass destruction. Built around scorching, power chord driven riffs, Maas’ imitable falsetto, a driving rhythm section powered by Bailey’s forceful time keeping, the song continues a run of material that harkens back to their earliest releases but fueled by an urgency informed by our desperate, uneasy time.

The album’s fifth and latest single “History of the Future” is a classic Black Angels headbanger built around scorching guitar riffage, Maas’ falsetto delivering lysergic-tinged lyrics, Bailey’s forcefully propulsive time keeping paired with the Austin-based JOVM mainstays unerring knack for rousingly anthemic, mosh pit friendly hooks and choruses.

Directed by Clever Cardoso and filmed in Terlingua, TX, the accompanying video was inspired by Pink Floyd‘s famous Live at Pompeii concert film, and captures the band playing the song amidst the immensity of the mountains surrounding them.

Video by William Ruben Helms

Live Footage: A Place to Bury Strangers Perform “Let’s See Each Other” at LEVITATION Festival 2021

Live footage of A Place to Bury Strangers performing “Let’s See Each Other” at LEVITATION Festival 2021.

Video by William Ruben Helms

New Video: JOVM Mainstays The Black Angels Share Urgent “Empires Falling”

With five albums under their collective belts, Austin-based JOVM mainstays  The Black Angels —  currently Alex Maas (vocals, bass), Christian Bland (guitar), Stephanie Bailey (drums), Jake Garcia (guitar) and multi-instrumentalist Ramiro Verdooren — have firmly cemented a unique take on psych rock that remains true to psych rock forebears like  Syd Barrett, Roky Erickson, Arthur Lee, and The Velvet Underground, while thematically touching upon contemporary concerns. 

Interestingly, during that same period of time, the members of the acclaimed Austin-based JOVM mainstays have also managed to build a global profile within the international psych rock scene, a profile that has been further cemented by their long-running celebration of all things psychedelic, Levitation Festival, which celebrates its 15th anniversary this year. 

If you’ve been frequenting this site over the past couple of months, you may recall that this year is a big year in the band’s almost two decade history: Their sixth album — and first in over five years, Wilderness of Mirrors is slated for a Friday release through Partisan Records. Co-produced by the band and Brett Orrison with engineering by John Agnello, Wilderness of Mirrors reportedly finds the band attempting to achieve something fresh and new through a gentle and subtle refinement of the sound that has won them fans across the globe. 

Throughout Wilderness of Mirrors‘ material, the band adds mellotron, string arrangements and an assortment of different keyboards to the mix, which adds different textures to their overall sound. Thematically, the album continues upon their long-held reputation for touching upon contemporary concerns — in particular, our uncertain and urgent moment of political tumult, the pandemic, and the ongoing devastation of the environment and its long-term implications to us and our descendants, among others. 

So far I’ve written about three of the soon-to-be released album’s singles:

  • “El Jardín,” a single, which at first glance is classic Black Angels: Bailey’s thunderous time keeping, Maas’ plaintive falsetto and supple bass lines paired with layers upon layers of guitar pyrotechnics and effects from Bland and Garcia — but the song’s sparking and brooding bridge sees the band adding bursts of twinkling Rhodes to the mix. Written from the perspective of our dear Mother Earth, “El Jardín” is a forceful and urgent warning to all of us: destroying the environment will ultimately lead to the destruction of humanity. 

  • “Firefly,” a loving yet classic Black Angels-like homage to 60s French pop, featuring a guest spot from Thievery Corporation‘s LouLou Ghelickhani, who contributes sultrily delivered vocals in French and English, alongside Maas’ imitable falsetto and paired with a hook-driven arrangement featuring reverb-drenched guitars, Maas’ supple and propulsive bass lines, some simple yet forceful timekeeping from Bailey and twinkling keys. 

  • “Without A Trace,” a bit of classic, Passover through Directions to See a Ghost-era Black Angels centered around fuzzy and distorted power chords, a reverb-drenched guitar solo, Bailey’s thunderous and propulsive time keeping paired with Maas’ imitable vocal delivery and supple bass lines. The song sonically and thematically is an eerie and brooding meditation that asks “is is still possible to be invincible when everyone else is expendable.” 

“Empires Falling,” Wilderness of Mirrors‘ latest single may arguably be among the most politically charged songs on the entire album. Centered around scorching guitar riffs, Maas’ imitable falsetto, a propulsive and supple bass line and Bailey’s forceful time keeping, “Empires Falling” continues a run of material that harkens back to their earliest releases — but with an urgency that fits our desperate, uneasy time.

“‘Empires Falling’ is a critical and reflective plea that examines humanity’s repetitive art of violent mass destruction. As we say in the chorus, ‘it’s history on repeat.'” The Black Angels explain in press notes. ” We are living in a ‘Wilderness Of Mirrors’, where it’s hard to tell what’s right from wrong, up from down, or the truth from lies as we navigate through these times where the fate of humanity is being refracted and reflected from one state of panic to another. The world is a ‘bleeding animal’ and we are left exhausted, polarized, and ‘pleading from street to bloody street.’  History has proven, time and time again, that without a drastic metamorphosis from our leaders, politics, and ultimately ourselves... ‘you can be the one who saves yourself, or you can watch it all go to hell.'”

Directed by Craig Staggs and featuring animation by Minnow Mountain, the accompanying video for “Empires Falling” captures humanity’s brutal and oppressive history endlessly repeating in front of a psychedelic hellscape.

Video by William Ruben Helms

New Video: The Vacant Lots Share Slow-Burning and Brooding “Consolation Prize”

With the release of 2020’s Interzone through London-based psych label Fuzz Club, the Brooklyn-based psych duo The Vacant Lots — Jared Artaud (vocals, guitar, synths) and Brian McFayden (drums, synths, vocals) — crafted an album’s worth of material that saw the duo blending dance music and psych rock while maintaining the minimalist approach that has won the band acclaim across the international psych scene. 

The duo’s highly-anticipated fourth album Closure is slated for a September 30, 2022 release through Fuzz Club. Written during pandemic-related lockdowns, the eight-song Closure clocks in at 23 minutes and continues the Brooklyn-based duo’s established “minimal is maximal” ethos — all while being a soundtrack for a shattered, fucked up world. 

“During the pandemic the two of us were totally isolated in our home studios,” The Vacant Lots’ Jared Artaud says. “I don’t think the pandemic directly influenced the songs in an obvious way, but merely amplified existing feelings of alienation and isolation. We found ourselves writing in a more direct and vulnerable way than ever before.”

So far I’ve written about two of the album’s singles:

“Chase:” Written on a Synsonics drum machine and a Yamaha CS-10 synthesizer, “Chase” is firmly rooted in their long-held “minimal is maximal” ethos but while seeing the Brooklyn-based duo pushing their sound in a club friendly direction while still being lysergic. Arguably one of their most dance floor friendly songs, “Chase” is centered around what may be the most vulnerable and direct lyrics of their growing catalog with the song subtly suggesting that at some point we will all need to dance away our heartache — if only for a three or four minutes. 

“‘Chase’ is a song about longing, about the struggle of love across time zones,” The Vacant Lots’ Brian MacFayden explains in press notes. “It’s about the desire to close that gap of separation, but also the anticipation and excitement that builds between each encounter. It’s about a sense of knowing how it should be before it is.” The band’s Jared Artaud adds, “‘Chase’ has this duality that strikes a balance between wanting to dance and taking a pill that plunges you on the couch.”

“Thank You,” a dance floor friendly banger centered around a relentless and angular, arpeggiated baseline paired with a four-on-the-floor drum machine pattern, glistening synths, angular guitar buzz and sneering vocals. But while being a New Order-like banger, “Thank You” is a bitter tell-off to a people (and situations) that have wasted valuable time. 

“‘Thank You’ was built in the framework of simplicity,” The Vacant Lots Brian MacFayden says. “It has a relentless pace driven by an angular arpeggiated bassline and drum machine pattern. A Juno-6 was used for chords throughout, a Korg M500 for the leads, and the track is brought to another level with guitars layered on top. The process of crafting this song was done entirely remotely due to the pandemic and the layers over time became more and more refined until we were satisfied with each sound source.”

“Consolation Prize,” Closure‘s third and latest single continues the Brooklyn-based duo’s long-held minimal is maximal ethos but while leaning heavily towards industrial goth with the track being centered around droning synths, wiry bursts of guitar, some efficient thump paired with vocals expressing aching heartbreak and frustration. Sonically, the song sounds like a narcotic synthesis of Suicide, Iggy Pop, and New Order.

Filmed and edited by Alexander Schipper, the accompanying video follows a leather jacket-clad Katerina Samar walking through a park. Shot in grainy Super 8 black and white film, the video employs kaleidoscopic filters and old film stock to give the proceedings a slow-burning yet trippy air.

m

Single Review by William Ruben Helms

With five albums under their collective belts, the Austin-based psych rock outfit and JOVM mainstays  The Black Angels —  currently Alex Maas (vocals, bass), Christian Bland (guitar), Stephanie Bailey (drums), Jake Garcia (guitar) and multi-instrumentalist Ramiro Verdooren — have firmly cemented a unique take on psych rock that remains true to psych rock forebears like  Syd Barrett, Roky Erickson, Arthur Lee, and The Velvet Underground, while thematically touching upon contemporary concerns. 

Interestingly, during that same period of time, the members of the acclaimed Austin-based JOVM mainstays have also managed to build a global profile within the international psych rock scene, a profile that has been further cemented by their long-running celebration of all things psychedelic, Levitation Festival, which celebrates its 15th anniversary this year. 

If you’ve been frequenting this site over the past couple of months, you may recall that this year is a big year in the band’s almost two decade history: Their sixth album — and first in over five years, Wilderness of Mirrors is slated for a September 16, 2022 release through Partisan Records. Co-produced by the band and Brett Orrison with engineering by John Agnello, Wilderness of Mirrors reportedly finds the band attempting to achieve something fresh and new through a gentle and subtle refinement of the sound that has won them fans across the globe. 

Throughout Wilderness of Mirrors‘ material, the band adds mellotron, string arrangements and an assortment of different keyboards to the mix, which adds different textures to their overall sound. Thematically, the album continues upon their long-held reputation for touching upon contemporary concerns — in particular, our uncertain and urgent moment of political tumult, the pandemic, and the ongoing devastation of the environment and its long-term implications to us and our descendants, among others. 

So far I’ve written about two of the forthcoming album’s singles:

  • “El Jardín,” a single, which at first glance is classic Black Angels: Bailey’s thunderous time keeping, Maas’ plaintive falsetto and supple bass lines paired with layers upon layers of guitar pyrotechnics and effects from Bland and Garcia — but the song’s sparking and brooding bridge sees the band adding bursts of twinkling Rhodes to the mix. Written from the perspective of our dear Mother Earth, “El Jardín” is a forceful and urgent warning to all of us: destroying the environment will ultimately lead to the destruction of humanity. 
  • “Firefly,” a loving yet classic Black Angels-like homage to 60s French pop, featuring a guest spot from Thievery Corporation‘s LouLou Ghelickhani, who contributes sultrily delivered vocals in French and English, alongside Maas’ imitable falsetto and paired with a hook-driven arrangement featuring reverb-drenched guitars, Maas’ supple and propulsive bass lines, some simple yet forceful timekeeping from Bailey and twinkling keys. 

“Without A Trace,” Wilderness of Mirrors‘ third and latest single is a bit of classic, Passover through Directions to See a Ghost-era Black Angels centered around fuzzy and distorted power chords, a reverb-drenched guitar solo, Bailey’s thunderous and propulsive time keeping paired with Maas’ imitable vocal delivery and supple bass lines. The song sonically and thematically is an eerie and brooding meditation that asks “is is still possible to be invincible when everyone else is expendable.”

“We have always said that if you can rob a bank to our music then we are in the right ballpark,” The Black Angels say in press notes. “And while we don’t condone robbing a bank – the idea alone creates an anticipatable, adrenaline inducing soundtrack for your mind.” 

The band will be embarking on an extensive headlining North American tour that includes an October 17, 2022 stop at Brooklyn Steel. Tour dates, as always are below. 

North American Tour Dates 

8/20: Las Vegas, NV @ Psycho Las Vegas
9/10: Lexington, KY @ Expansion Music Festival
9/30: Dallas, TX @ Granada 
10/1: Lawrence, KS @ Bottleneck
10/3: St. Louis, MO @ Delmar Hall
10/4: Omaha, NE @ Slowdown
10/5: Minneapolis, MN @ First Avenue
10/7: Madison, WI @ Majestic
10/8: Chicago, IL @ House of Blues Chicago
10/9: Cleveland, OH @ Beachland Ballroom
10/10: Detroit, MI @ Majestic
10/12: Toronto, ON @ Phoenix Theatre
10/13: Montreal, QC @ Corona Theater
10/14: Boston, MA @ Paradise Rock Club
10/15: Washington, DC @ 9:30 Club
10/17: Brooklyn, NY @ Brooklyn Steel
10/18: Philadelphia, PA @ Union Transfer
10/19: Chapel Hill, NC @ Cat’s Cradle
10/21: Atlanta, GA @ Variety Playhouse
10/22: Nashville, TN @ Brooklyn Bowl
10/23: Birmingham, AL @ Saturn
10/24: Baton Rouge, LA @ Chelsea’s Live
11/3: Mexico City, MX @ Hipnosis Festival

Single Review by William Ruben Helms

New Audio: JOVM Mainstays The Black Angels Team Up with Thievery Corporation’s LouLou Ghelickhani On a Trippy Yet Loving Ode to French Pop

With five albums under their collective belts, 2006’s Passover, 2008’s Directions to See a Ghost 2010’s Phosphene Dream, 2013’s Indigo Meadow, 2014’s Clear Lake Forest and 2017’s Death Song, the Austin-based psych rock outfit and JOVM mainstays  The Black Angels —  currently Alex Maas (vocals, bass), Christian Bland (guitar), Stephanie Bailey (drums), Jake Garcia (guitar) and multi-instrumentalist Ramiro Verdooren — have firmly cemented a unique take on psych rock that remains true to psych rock forebears like  Syd Barrett, Roky Erickson, Arthur Lee, and The Velvet Underground, while thematically touching upon contemporary concerns.

During that same period of time, the members of The Black Angeles have also built a global profile in the international psych rock scene, a profile that has been further cemented by their long-running celebration of all things psychedelic, Levitation Festival, which celebrates its 15th anniversary this year. 

2022 is a big year in the band’s almost two decade history: Their sixth album — and first in over five years, Wilderness of Mirrors is slated for a September 16, 2022 release through Partisan Records. Co-produced by the band and Brett Orrison with engineering by John Agnello, Wilderness of Mirrors reportedly finds the band attempting to achieve something fresh and new through a gentle and subtle refinement of the sound that has won them fans across the globe. 

Throughout Wilderness of Mirrors‘ material, the band adds mellotron, string arrangements and an assortment of different keyboards to the mix, which adds different textures to their overall sound. Thematically, the album continues upon their long-held reputation for touching upon contemporary concerns — in particular, our uncertain and urgent moment of political tumult, the pandemic, and the ongoing devastation of the environment and its long-term implications to us and our descendants, among others.

Last month, I wrote about the forthcoming album’s first single, “El Jardín,” which at first glance is classic Black Angels: Bailey’s thunderous time keeping, Maas’ plaintive falsetto and supple bass lines paired with layers upon layers of guitar pyrotechnics and effects from Bland and Garcia — but the song’s sparking and brooding bridge sees the band adding bursts of twinkling Rhodes to the mix. Written from the perspective of our dear Mother Earth, “El Jardín” is a forceful and urgent warning to humanity: destroying the environment will ultimately lead to the destruction of humanity. 

Wilderness of Mirrors‘ second and latest single “Firefly” is a loving yet classic Black Angels-like homage to 60s French pop, featuring a guest spot from Thievery Corporation‘s LouLou Ghelickhani, who contributes sultrily delivered vocals in French and English, alongside Maas’ imitable falsetto and paired with a hook-driven arrangement featuring reverb-drenched guitars, Maas’ supple and propulsive bass lines, some simple yet forceful timekeeping from Bailey and twinkling keys.

Video by William Ruben Helms

New Video: JOVM Mainstays The Black Angels Announce First Album in Five Years, Share Forceful “El Jardín”

Since their formation back in 2004, the Austin-based psych rock outfit and JOVM mainstays The Black Angels —  currently Alex Maas (vocals, bass), Christian Bland (guitar), Stephanie Bailey(drums), Jake Garcia (guitar) and multi-instrumentalist Ramiro Verdooren — have remained true to psych rock forebears like Syd Barrett, Roky Erickson, Arthur Lee, and The Velvet Underground among others throughout their career, while simultaneously reflecting a wide-screen view of the world back at the listener. Thematically, their work often touches upon extremely contemporary concerns.

With five albums under their collective belts — 2006’s Passover, 2010’s Phosphene Dream, 2013’s Indigo Meadow, 2014’s Clear Lake Forest and 2017’s Death Song, the Austin-based JOVM mainstays have built a global profile on the international psych rock scene. That profile and influence has been further cemented by their long-running celebration of all things psych rock, Levitation Festival, which celebrates its 15th anniversary this year.

2022 looks to be a big year for the band: The Black Angels’ forthcoming sixth album — and first album in over five years, Wilderness of Mirrors is slated for a September 16, 2022 release through Partisan Records. Co-produced by the band and Brett Orrison with engineering by John Agnello, Wilderness of Mirrors reportedly finds the band attempting to achieve something fresh and new through a gentle and subtle refinement of the sound that has won them fans across the globe.

With Wilderness of Mirrors, the band adds mellotron, strings and an assort of keyboards to their sonic palette, which naturally adds different textures to their sound. Thematically, the album touches upon our moment: political tumult, the pandemic and the ongoing devastation of the environment and its long term implications to us and our descendants among other things.

“El Jardín,” Wilderness of Mirrors‘ expansive, first single is at first glance classic Black Angels: Bailey’s thunderous time keeping, Maas’ plaintive falsetto and supple bass lines paired with layers upon layers of guitar pyrotechnics and effects from Bland and Garcia — but the song’s sparking and brooding bridge sees the band adding bursts of twinkling Rhodes to the mix. Written from the perspective of our dear Mother Earth, “El Jardín” is a forceful and urgent warning to humanity: destroying the environment will ultimately lead to the destruction of humanity.

Directed by Vanessa Pia, the cinematic, accompanying video stars The Walking Dead‘s Austin Amelio and his son Lev in a post apocalyptic nightmare in which humans have essentially killed nature — and the only way to experience it is through virtual reality.

“Alex [Maas] came to me with a dystopian sci-fi idea of a future where Mother Nature is dead because we killed her, and the only way to experience her is through virtual reality- an already relatable feeling, as most of the world lives viscerally through social media,” Vanessa Pia explains. Who knows where we will be 100 years from now. This project has been a dream in the making and a massive labor of love and could have only been possible with such a dedicated and talented crew, especially my dear friend and cinematographer Andy Hoffman. For me as a director, it’s an honor to deliver this project on 35mm print and to have been chosen to make something for my favorite band.”

Video by William Ruben Helms

New Video: JOVM Mainstays Elephant Stone Go on a Trippy Journey Through Space in Visual for “M. Lonely”

Rishi Dhir is a Brossard, Quebec-born, Montreal-based singer/songwriter and multi-instrumentalist. He’s a grizzled Montreal indie rock and psych rock scene vet with stints in bands like The Datsons and The High Dials. Dhir is also an in-demand sitar player and bassist, who has collaborated with the likes of Beck, The Brian Jonestown Massacre, The Black Angels, The Soundtrack of Our Lives, The Dream Syndicate, psych rock supergroup MIEN and countless others.

The Brossard-born, Montreal-based singer/songwriter and multi-instrumentalist founded the acclaimed JOVM mainstay psych rock act Elephant Stone back in 2009. Along with collaborators and bandmates Miles Duper (drums), Gab Lambert (guitar), Robbie MacArthur (guitar) and Jason Kent (keys, guitar), the Canadian psych rock outlive has released five albums centered around a sound that incorporates elements of traditional Indian classical music with Western psych rock, rooted in his own personal experiences.

Dhir’s own journey in music, frequently found him trying to find a place that fit him until he decided that what he made was worth sharing in the space that he had created for himself. “I only write about what I know and think I understand. As long as there’s Rishi, there’s going to be Elephant Stone,” Dhir says in press notes.

Slated for a February 18, 2022 release through Elephants on Parade, Elephant Stone’s soon-to-be released EP Le voyage de M. Lonely dans la lune reportedly picks up on the personal aspects of survival explored on their previous album Hollow and what that means on a dying planet with — or without people. “I built this storyline about a hermit who is very content in his solitary world, until a world event happens that causes everyone else to stay home as well…sound familiar?” Dhir explains. “He sees this as a mockery of him and his choices, deciding instead to build a rocket ship to the moon to be left alone.” 

Over the course of the EP’s four songs, the EP’s main character M. Lonely “ultimately realizes he was happier back on imperfect earth with all of its imperfect people,” Dhir says.

The EP’s latest single “M. Lonely” is centered around an expansive and mind-bending psych rock arrangement with rousingly anthemic hooks, some blazing solo work, a dreamy acoustic-driven bridge, and Dhir’s propulsive bass lines. While most of their output features lyrics written and sung in English, Le voyage de M. Lonely dans la lune is a departure for the band, as the material is written and sung exclusively in French. According to Dhir, the EP doubles as a love letter to Montreal and to all of their Francophone fans around the world.

“M. Lonely” actually sets the stage for the EP’s storyline: the EP’s titular character is upset about a worldwide epidemic that forces the rest of the planet’s population to stay home for their safety. M. Lonely decides that he needs to leave Earth for his own reclusive sanity.

“The riff from this song dates back to my time playing with The Black Angels in 2012,” Dhir explains. “Following our gig in Nashville, Christian Bland (The Black Angels’ guitarist) and I proceeded to get drunk backstage and started jamming. Coaxed by Alex Mass (The Black Angels’ vocalist), we came up with the idea of creating a new band called The Woodpeckers: playing primal 60’s garage while wearing Woody Woodpecker masks. We both came up with tunes on the spot and, 10 years later, mine ended up evolving into ‘M. Lonely.’ Anyhow, I’m still waiting for those Woody Woodpecker masks…” 

Directed by Daniel Ross and Vincent Gauthier, the recently released video or “M. Lonely” features the band in mod-style outfits playing in front of trippy animations and effects by Vivid_AV. The video hints at the EP’s larger story with Dhir dressed in an Elephant Stone spacesuit, and a spaceship traveling through the cosmos.

Video by William Ruben Helms

Live Footage: King Gizzard and The Lizard Wizard Perform “Robot Stop” and “Hot Water” at Levitation

Levitation Festival (initially founded as Austin Psych Fest) can trace its beginnings to a simple idea devised by the members of JOVM mainstay act The Black Angels in the back of a tour van back in 2007: “Let’s invite all of our favorite bands and all of our friends for our version of a music festival.” 

The inaugural Austin Psych Fest was in March 2008 — and by popular demand, the festival expanded to a three-day event the following year. Within a relatively short period of time, Austin Psych Fest became an international destination for psych fans across the globe, with the festival featuring lineups that included up-and-comers, cult favorites, legendary and influential acts and a headlining set from the festival’s founders, The Black Angels. A few years ago, the festival was renamed Levitation in honor of Austin psych rock pioneers The 13th Floor Elevators, but in in its almost 15 year run, the festival has helped spark a new, international psych rock movement while inspiring the creation of similar events across the globe, including Levitation Festival events in Chicago, Vancouver, France and a SXSW showcase, as well as other special events in Europe and Latin America.

Late last year, Levitation Festival’s record label, The Reverberation Appreciation Society announced the launch of a new live album series, Live at LEVITATION. Comprised of material played and recorded throughout the festival’s history, the live album series specifically captures and documents key artists in the contemporary psych rock scene. Of course, many of these moments were also important moments of Austin’s live music scene. 

  • The live series’ first album Kikagaku Moyo — Live at LEVITATION featured two different Kikagaku Moyo sets — their 2014 Levitation Festival set, which was one of the Japanese psych rock act’s first Stateside shows and their return to Levitation back in 2019, during a sold-out Stateside tour, which included a stop at Warsaw that year with Japanese krautrockers Minami Deutsch.
  • The series’ second album The Black Angels — Live at LEVITATION featured the festival’s founders The Black Angels. The Black Angels live album is comprised of material recorded at Austin Psych Fest 2010, 2011 and 2012, and captures a rare glimpse of the festival’s earlier, more humble days. And of course, for Black Angels fans, like myself, the album features live version of six songs from their first two albums — Passover and Directions to See a Ghost. 
  • The series third album Primal Scream — Live at LEVITATION features the legendary and influential British psych rockers — currently, Bobby Gillespie (vocals), Andrew Innes (guitar), Martin Duffy (keys), Simone Butler (bass) and Darrin Mooney (drums) — during their career spanning 2015 LEVITATION set. The set featured hits from landmark albums like  Screamadelica, Give Out But Don’t Give Up, XTRMNTR and others

The Reverberation Appreciation Society surprised psych rock fans with the surprise release of the fourth installment of their Live at LEVITATION series — King Gizzard and The Lizard Wizard — Live at LEVITATION. The double LP features the acclaimed JOVM mainstays’ 2014 and 2016 Levitation Festival appearances.

The Aussie JOVM mainstays’ 2014 appearance is presented in full on the first LP. That set is historic because it’s their first North American show, ever — and it includes a live performance of their then-unreleased “I’m in Your Mind Fuzz” suite. The rest of the set includes early versions of material loved by fans today while offering a look into the creative process of a band that was just about to explode into the global scene. After their 2014 North American tour, the band spent the summer in Brooklyn recording I’m Not Your Mind Fuzz and Quarters.

The second LP consists of King Gizzard and The Lizard Wizard’s 2016 Levitation Festival appearance: The band returned to celebrate the release of that year’s critically applauded, mind-bending effort Nonagon Infinity. Unfortunately, that year’s festival was canceled because of severe weather; but the recording on the second LP is one of two shows Gizz played at Barracuda thats weekend. Sadly, Barracuda is no longer.

Both shows were recorded by Craig Lawrence and mixed by the band’s mastermind Stu Mackenzie at their Melbourne-based studio — and specifically mastered for vinyl. To celebrate the live album’s release, The Reverberation Appreciation Society and the band released some blistering live footage of the band playing Nonagon infinity rippers “Robot Stop” and “Hot Water.” Play loud and then rock out.

The vinyl release will feature four unique colorways, each limited to 2000 in a matte gatefold featuring unique gold foil embossed numbered jackets numbered 1-8000. The first run will be the only one with those features — and a special record for anyone who collects records.

The album is also bundled with a super limited edition of tees, tie dyes and screen printed foil prints featuring artwork by Alan Forbes from the 2016 show and the long lost 2014 poster by C.M Ruiz.

Video by William Ruben Helms

Live Footage: Primal Scream at LEVITATION Festival

ea devised by the members of JOVM mainstay act The Black Angels in the back of a tour van back in 2007: “Let’s invite all of our favorite bands and all of our friends for our version of a music festival.”

The inaugural Austin Psych Fest was in March 2008 — and by popular demand, the festival expanded to a three-day event the following year. Within a relatively short period of time, Austin Psych Fest became an international destination for psych fans across the globe, with the festival featuring lineups that included up-and-comers, cult favorites, legendary and influential acts and a headlining set from the festival’s founders, The Black Angels. A few years ago, the festival was renamed Levitation in honor of Austin psych rock pioneers The 13th Floor Elevators, but in in its almost 15 year run, the festival has helped spark a new, international psych rock movement while inspiring the creation of similar events across the globe, including Levitation Festival events in Chicago, Vancouver, France and a SXSW showcase, as well as other special events in Europe and Latin America.

last year, Levitation Festival’s record label, The Reverberation Appreciation Society announced the launch of a new live album series, Live at LEVITATION. Comprised of material played and recorded throughout the festival’s decade-plus history, the live album series specifically captures and documents key artists in the contemporary psych rock scene. Of course, many of these moments were also important moments of Austin’s live music scene. 

The live series’ first album Kikagaku Moyo — Live at LEVITATION featured two different Kikagaku Moyo sets — their 2014 Levitation Festival set, which was one of the Japanese psych rock act’s first Stateside shows and their return to Levitation back in 2019, during a sold-out Stateside tour, which included a stop at Warsaw that year with Japanese krautrockers Minami Deutsch.
The series’ second album The Black Angels — Live at LEVITATION featured the festival’s founders The Black Angels. The Black Angels live album is comprised of material recorded at Austin Psych Fest 2010, 2011 and 2012, and captures a rare glimpse of the festival’s earlier, more humble days. And of course, for Black Angels fans, like myself, the album features live version of six songs from their first two albums — Passover and Directions to See a Ghost.

e (vocals), Andrew Innes (guitar), Martin Duffy (keys), Simone Butler (bass) and Darrin Mooney (drums) — have embraced an eclectic and diverse array of styles and sounds from psych pop, degenerate rock ‘n’ roll, euphoric rave and industrial gloom while going through a complicated series of lineup changes that have also included The Stone Roses’ Mani and My Bloody Valentine’s Kevin Shields, and the death of beloved guitarist Robert “Throb” Young. They’ve collaborated on material with George Clinton and Kate Moss. And throughout their run, they’ve managed to capture the mood and tone of the UK several times over — while surviving narcotic oblivion and countless personal traumas.

Slated for a November 19, 2021 release through The Reverberation Appreciation Society, Primal Scream — Live at LEVITATION is centered around the British legends’ 2015 LEVITATION set, a career spanning set, which pulled hits from landmark records like Screamadelica, Give Out But Don’t Give Up, XTRMNTR and others. To build up buzz for the album, LEVITATION, The Reverberation Appreciation Society and Primal Scream released two singles off the album: muscular renditions of Give Out But Don’t Give Up track “Jailbird” and XTRMNTR track “Accelerator.” The accompanying live footage serves as a reminder that Primal Scream is one of the best live bands in the entire world.

A/Canada and British and European stores, a Rough Trade vinyl exclusive and a very special American feature as part of the annual Ten Bands One Cause charity initiative. That feature will launch around National Breast Cancer Awareness Month in October — and will benefit Red Door Community, where no one faces cancer alone.