Available in limited edition Grey Vinyl. Black Mountain's self-titled debut album is a new classic rock, with reference points arcane and clear, its sound fresh, unfamiliar and irresistible. Savor the compact, spacey brilliance of this cosmic, heavy and subtle album, expanded now with a raft of delicious bonus tracks scavenged from the Black Mountain Army archives.
Black Mountain’s Year Zero soundtrack is nothing less than the band’s full, balls-out glory distilled down to one dense, 45-minute acid tab of music. Featuring five new songs and five previously released songs, the Year Zero soundtrack weaves crunching, analog psych metal; futuristic droneouts; and, somehow, a twisted saxaphone ditty.
"Rollercoaster" is the third single from Black Mountain's Wilderness Heart. This song really showcases the band's trademark psych-metal sound, and throughout it the interchanging vocals of Steve McBean and Amber Webber are in full force. The song was recorded at Sunset Sound in Hollywood with D. Sardy.
The b-side to this single is entitled "In The Drones" and is previously unreleased. It features Webber's haunting vocals at the forefront, accompanied by reverb-drenched picking and shadowy synth stylings underneath. The song was recorded in Seattle at London Bridge Studio with Randall Dunn.
Wilderness Heart, the new album by Black Mountain, is packed with succinct rock songs that pulse and pound with startling precision: it pummels you and you ask for more. This is arguably the band’s tightest, most concentrated venture, but there’s still plenty of raw rock energy at work. “It’s our most metal and most folk oriented record so far,” songwriter Stephen McBean says. “I’m not gonna say it’s our best record or the album that we always dreamt of making ‘cause that’s what everyone says. It’s all about where we were at the time the machines were rolling. You can’t control the electricity or how your limbs were moving that day. You have to erase the visions and just go along for the ride.”
Favorite psych-and-prog-spiritual pioneers BLACK MOUNTAIN are back with "In The Future", their second full-length album that resonates with the same epic ring, beloved deep rock touchstones and genuine folk fragility that made their self-titled debut full-length an instant classic. The new album possesses immense breadth, seamlessly showcasing short and classic folk-pop gems along with driving modern rock masterpieces, peaking with "Bright Lights", a seventeen-minute multi-dimensional opus that gives Pink Floyd's "Echoes" a run for its money.
Time to rejoice space travellers, music lovers, drug takers and all freak creatures of the nighttime world. The heat is on and the streets are wild. We've had enough of your modern music and fake painted smiles. We're all looking for a little more. Big amps, small amps, it's all the same. Dee-lite said that groove is in the heart. But we believe that rock'n'roll is boiled in the blood and born in the soul. What more do you want? What more do you need? Distractions? Interstellar cellular progress? Better killing machines? Originally released as a 12-inch single (and acting as the band's first release ever), the Druganaut single is now being molded in the CD format, with two additional songs added to it. Black Mountain are the front line soldiers for the Black Mountain Army, an arts collective from Vancouver, British Columbia, featuring members of The Pink Mountaintops, Jerk With A Bomb, Sinoa Caves, and Blood Meridian. Their debut self-titled full-length record may well be the Pied Piper that takes us all back into the primordial mountain, where our hearts can be made steady and our minds can be set free. It brings to mind - as does this Druganaut single - Animals-era Pink Floyd, Black Sabbath, Neil Young and a James Brown on a liberal does of cough syrup.
Black Mountain, the front-line soldiers for the Black Mountain Army, an arts collective from Vancouver, British Columbia, write, perform and record music that speaks (and sings) to this realization: that solutions are rarely simple, that the world is as complex as it is ambiguous, and that music sprinkled with an inoculating dose of madness may well be the Pied Piper that takes us all back into the primordial mountain, where our hearts can be made steady and our minds can be set free. Their debut self-titled record, like a space probe built of erector set parts and transmitting secret and arcane messages to earth by string, charts territories unknown yet remains grounded by the roots of classic rock and roll. It is easy to discern these roots: Black Sabbath, Animals-era Pink Floyd, Blue Cheer, Led Zeppelin and Can. Principal songwriter Stephen McBean’s vocals are a smoother, bluesier amalgam of the voices of Neil Young, Mick Jagger and perhaps a James Brown loaded on cough syrup. And when Amber Webber’s voice joins Stephen’s, the combination brings to mind the potency and chemistry of Richard and Linda Thompson singing together on Shoot Out The Lights, or of Meat Loaf and Ellen Foley howling together on Bat Out Of Hell. Musical comparisons aside, the Black Mountain full-length is one part protest song, one part pop-cultural commentary, and one part sick-groove-rock casserole peppered with mesmerizing ballads and intoxicating ditties. “Modern Music” is the lead-off hitter and counts its way to the imposing and riff-rife “Don’t Run Our Hearts Around”. Immediately thereafter, the sludge-rock masterpiece “Druganaut” establishes the fecund heart and tone of the record. Black Mountain have also just recently released a 12-inch single (on Jagjaguwar), including an extended mix of “Druganaut” on the A-side. And the band’s currently sexploitative counterpart The Pink Mountaintops, a band that also pipes into the prolific well-spring of Stephen McBean’s mind, released their self-titled debut record (on Jagjaguwar as well) this past summer. A video by Heather Trawick of the song “Druganaut” is included on the CD version of the Black Mountain self-titled record.