Black Mountain

The dreaded sophomore slump is something many new bands face. The idea that every new, great band has to be “the next best thing” is a lot of pressure. Some of these high expectations can destroy a band or make their second release turn into something it isn’t. 2008 poses a lot of new indie rock bands with their second effort. One of these bands, Black Mountain, has released their follow-up this January and has put to the test their well played formula of epic rock.

In the Future, the second full-length recording from Vancouver’s Black Mountain, follows perfect suit to its self-titled predecessor. Trying to formally describe Black Mountain always ends in either a rambling roster of 60’s and 70’s rock bands or a laundry list of genres smashed in a super-collider. With this fact, a slew of mixed reviews abound. Kicked into Black Mountain’s court have been nods to the prolific recreation of classic sounds with a fresh twist as well as accusations of re-used riffs and old, stale formulas. Regardless of the nay-sayers, one thing is clear--Black Mountain knows how to write a damn good rock song.

Black Mountain’s self-titled debut was a daunting listen. With influences ranging from Led Zeppelin to Pink Floyd to Captain Beefheart, you are bound to get a varied climate. Songs like “Modern Music” and “Druganaut” showed a twinge of funk psychedelia while “Don’t Run Your Hearts Around” and “Set Us Free” had a more standard progressive rock structure (if such a thing exists). Then there's the epic “Heart of Snow” and the borderline techno track “No Hits” which jostled the listener out of their security with sounds unlike the others and structures so varied they are intimidating. This can come off as either pretentious or schizophrenic to the average listener. All in all, Black Mountain was a solid selection of great songs that varied, stood alone and worked to show just what the band can do. In the Future solidifies these ideas into a more coherent mission.

The new album kicks of with the maelstrom of “Stormy High.” Amber Webber’s vocals mimic a howling north wind as the guitars show the onslaught of catchy and crunchy riffs that will stick with the listener long after the finale of the track. The track launches the listener into the climate of the heavy rockers of the album and then lulls back for the track “Angels” which still has its fair share of guitars and a surging synth bridge, but the overall demeanor is much more laid back.

Swiftly kicking into high gear is the 8-minute epic “Tyrants,” also the first release off of the new album. The song goes through its impassioned tale of taking down a tyrant with grandiose sections that ebb and flow as any prog rock anthem should. The build up of tension throughout the song is released through the violent thrashing of guitars and drums at the songs finale with a cathartic acoustic outro to reel listeners back in. To date, “Tyrants” is Black Mountain’s most impressive, coherent track.

More standard rockers are laced throughout the rest of the album. “Wucan” howls with a guitar riff that beams in from outer space and Webber belts over the closest companion piece to Led Zeppelin’s “No Quarter” on the haunting “Queens Will Play.” These standards lead to the ambitious 16-minute “Bright Lights.” Echoing such classics like King Crimson’s “Starless” or Pink Floyd’s “Shine On You Crazy Diamond”, Black Mountain adds itself to the lexicon of uncompromising, engaging epics. Not many bands go for the grandiose 70’s prog-rock sprawls anymore, but Black Mountain pays them tribute and embellishes them with their own signature sound. Rather then being one repetitive long track, it’s split up into noticeable fragments envelope all the themes necessary in any epic track.


Overall, what really shines through on In The Future is the amount of sheer talent all members of the group have. Stephen McBeam’s guitar work never overshadows what else is going on and the vocal exchange between himself and Webber works well to make the group even more dynamic than they already are. The album works together as a more cohesive statement than their self titled debut and brings every member of the Black Mountain Army together working to create a single dynamic sound. If anything proves this point, it’s Black Mountain’s live show. Their live act this past fall here in Philadelphia at Johnny Brenda’s showcased what they can do onstage. They played new and old and it all flowed together in a psychedelic haze. The show is what I imagine seeing such classic acts of the early psychedelic movement must have been like.

Reimagining older styles is what Black Mountain does best. In The Future takes this to a new level of excitement. They overcame the sophomore slump, perhaps ten fold. An upcoming tour will accompany the January 22nd official release of the album, although if you order through their website, you can get a digital download for instant gratification. Black Mountain is one of the most exciting bands out today bringing no holds barred rock and roll back to its roots. Whether you find this a rehashing of old used styles and sounds isn’t the issue. It’s whether or not you are ready for a sonic adventure of epic proportions. If that’s your bag, Black Mountain’s In The Future is for you.

by Paul Tsikitas

Black Mountain - Tyrants.mp3

Druganaut on Youtube


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Bon Iver

Justin Vernon is ready. He departed for the forest of Northwest Wisconsin last winter, and emerged with magic. But it clearly didn't come without a price. For Emma, Forever Ago is a penance, a crucible, a sacrificial offering... and I say 'sacrificial' because it doesn't take long to hear Vernon's giving of himself on this record. And if you see him perform the songs from For Emma live, you can see this offering repeat itself. A sacrament raised up on high to the pieces of us that may have been ripped away--casualties from having loved with all our hearts and lived through the glory and devastation. I'm hoping Vernon is feeling better than he did before last winter, and I imagine he is, given that the name of this new project, Bon Iver (pronounced bohn eevair), is based on the french greeting "Good Winter".

For those of you who are feeling suspicious about Bon Iver, let me put my reputation on the line. He's the real deal.

Despite being somewhat minimalist, Bon Iver sounds decades ahead of its time, combining emotional post-folk and stripped-down acoustic neo-soul. Vernon sings with a falsetto croon, sometimes sounding like hollow metal. That may not sound appealing, but believe me, it works... If there's one man that can make hollow metal sound vulnerable and human, it's Justin Vernon.

For Emma, Forever Ago listens like an EP, in that it leaves you quite unfulfilled with the little time you've spent with the artist. I've probably listened to it a half dozen times in two days, and at the end each time I feel angry and slightly betrayed that it's over.

It opens with Flume, which may be the closest thing to old-fashioned folk you're going to find. Right off the bat, Vernon serves up generous portions of that falsetto (which can sound akin to TV on the Radio). This wail of his helps establish the record's character early on. Lump Sum, the record's second track, is indie gospel music for a new era, driven by a single base-drum and repeating acoustic strum.

Track 3 is Skinny Love, which is the flagship song responsible for all of the ridiculous blog hype Bon Iver's been getting. Even in a small venue in Philly, his announcement of "This song is called Skinny Love", elicited cheers of glee throughout the crowd. Honestly, this track speaks for itself. It's a gift from Vernon to the world--one that I almost wish he didn't have to give, but ignoring his pain, I selfishly horde it under my pillow.

Blindsided is the perfect centerpiece, and awakens one of the most lively moments on the album. The repeated line, "Would you really rush out? (for me now)" is a chant that drives the spirit of the music. The major-scale notes he choses to hit really give the record a feel-good core. Creature Fear teases us with a repeated pseudo-crescendo of a chorus, but the tease is bittersweet, and the second time around leads into the instrumental piece Team.

Jazz horn-players John Dehaven and Randy Pingrey jump on bord for the titular track, which also features a refreshing lively drum beat. Vernon (triumphantly?) sings, "Go find another another lover to string along!" I divert my eyes away from the speakers... I don't know who this Emma chick is, but she's definitely getting her comeuppance.

Don't be skeptical, this is more than just an exercise in exorcism. It's the real deal. I promise.

Bon Iver - Skinny Love mp3

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