Megan's Top 70 of 2010: #1 - The Black Angels

Why I Decree it to Be So:

As soon as I heard Phosphene Dream, I knew The Black Angels had claimed the number one record. True, it was probably fated to be my favorite record of the year, given how much I adore The Black Angels. But not even I could have predicted just how much I would love Phosphene Dream. It is record number three for my favorite time-traveling lovers of all things psych and holy, and it might just be my favorite. Right away, the disarmingly delicious drone draws you in in the form of "Bad Vibrations." Shit starts to get crazy around three minutes and twenty seconds in, when Alex Maas yelps and the guitars explode into an assault of pure noisy ecstasy. On "Yellow Elevator #2" the band officially blew my mind, not only with the super sexy bassline but the breathtaking harmonizing and the daze tha ensues as the song reaches its ending. It's brilliant. And what follows this little piece of spiritual awareness? Only what could be called a pop song (well, as pop as The Black Angels are likely to get). "Sunday Afternoon" is fast and catchy and calls to mind images of go-go dancers in Nancy Sinatra-approved boots shaking and whirling in their mod minis. Title track "Phosphene Dream" will probably blow out your speakers if you listen to it loud enough, but with all that heavy, heavy soul going on, odds are you won't mind. The band pulls another pop song out of the hat in the undeniable "Telephone," with that great organ sound wrapped in that mess of delightful noise. Phosphene Dream says goodnight with the magnetic, masterful "The Sniper," all molasses-thick and impossible to ignore. Oh, but before it ends it gets faster. And harder to ignore. This is The Black Angels at their absolute finest. They prove once again that they will out-drone, out-loud, and out-psych anyone and everyone. End of story.

mp3: Bad Vibrations (The Black Angels from Phosphene Dream)

100 Shows of 2010 - #86: The Black Angels @ Theatre of Living Arts, 11/6/10

Those of you that pay even the slightest bit of attention to my concert-going are well aware that I am in no way averse to putting some serious mileage on my car in the name of rock and roll. And when serious rock and roll beckons, such as, say, the undeniable psych rock revivalists The Black Angels, well, I feel totally and utterly powerless against their tractorbeam and subsequently get behind the wheel. So to Philly I went, for a wild and wonderful weekend that was pretty dang awesome, thanks in no small part to the live display of sheer magnificence that was The Black Angels. I was totally in love with this band before this show, and was even more enamored, if that's even possible, afterwards. I was also definitely more deaf than before the show, but that's not really here nor there.

MINI RECAP: The Black Angels = Gravity Defying! Overall Score: A

Beneath a brain-bending backdrop of aural hallucination-inducing red and blue (basically, a giant blowup of their Phosphene Dream cover), the Angels began to play. I had, of course, been tremendously excited to see them again, but I didn't realize until they strolled onto the stage just how very excited I in fact was. Their monumental set began with the sinister strains of "You On The Run", from the most excellent Directions To See A Ghost. It took me about 3 seconds to get goosebumps. Once again unable to find my earplugs, I stood at the very back of the room, against the soundboard. And I still felt the bass go through me, head to toe. It was just raw enough, while still maintaining that epic scale on the record. Hot damn, hot damn, hot damn.

A menacing rendition of another favorite, "The Sniper At The Gates Of Heaven", was another early inclusion in the set. The metallic, slightly unhinged vocals of Alex Maas were in full bloom, adding infinitely to the glorious disquiet. In perhaps a moment of silliness, they followed that with new song "The Sniper", much less growling but still very dark. I must confess, I heard these new songs live in my head a dozen times, but they never managed to sound this good. The fierceness of the guitar, the unbridled aggression of it all. Sensational. I'd have to say, I had one gripe with their set. During "Yellow Elevator #2", the band omitted my favorite part of the song, and launched immediately into "Black Grease". Now, this would be fine, but I do so love that unexpectedly, transcendentally ephemeral floating of the vocals in the midst of what kinda sorta sounds almost like a pop song (or as close, perhaps, as The Black Angels get to a pop song). Actually, I had two gripes. The other being that they stopped playing.

The band did a great job of mixing up the set and including greatness from each and every record. "Bad Vibrations" has rapidly turned into one of my most favorite Black Angels songs, so hearing the overpowering noise yet tightness of that song was a delight. The lull of the beginning gave way to an explosion of sonic savagery, and I hung on every note. The haunting swirl of "Phosphene Dream" filled every corner of the TLA. Maas once more proved himself a one of a kind singer, with that unholy howl of his creeping in among the controlled monotone. Another near-pop song, "Telephone", was next, its eerie dance vibe sending shivers up my spine. And while I hated to see their set end, they shut it down in the best, baddest, loudest way possible: A torturously noisy version of "Young Men Dead". With the sonic cadence akin to a forced march, it's no wonder that video game company picked this song to soundtrack their ad.

Now, it's no secret that my love for this band probably colors my opinion of them. But dangit, if you were at this show and didn't feel the earth move, even just a little, well I have no clue what the heckadoo is wrong with you. Maybe it's the sting of $7 PRB tallboys (really, Philly?!). Bottom line, my friends, is that this band is one of the best live bands around. Period. End of discussion.

mp3: Telephone (The Black Angels from Phosphene Dream)

Megan's Top 18 of 2008 - #1a - The Black Angels

I'm notoriously fickle, as regards just about anything and everything, but especially when it comes to music. So to have captured my attention for nearly half a year, an album has to be pretty fucking spectacular.

And friends, that's exactly how I would describe the second LP by Austin's Black Angels. Directions to See a Ghost is fucking spectacular.

I was recently discussing the weighty merits of the two Black Angels albums with my friend Laura, another ardent Black Angels fan. She prefers debut Passover to Directions to See a Ghost, arguing that the songs are stronger and more inventive. While I certainly love Passover furiously, I give the nod to Directions as my favorite of the two.

I think Laura's right, the songs on Passover are just a touch better, but the ideas begun on that mighty fine debut are expanded here, given new depth and breadth and much closer examination. It's psychedelia under a microscope, if you will. It's not just about the simple art of recording killer track after killer track, it's the pieces of the song and how they work together and how they can be fleshed out until they have a life of their own. I also feel like the album has a better flow, the songs merge into one another in a haze of sonic fuzz and pulsating drums. It's pretty dang seamless.

Directions to See a Ghost is a great big bastard of glorious mindfuckery, a heady concoction of sheer noise that by no coincidence is as beautiful as it is loud. It's sexy rock'n'roll that owes much to the vibrant days of years gone by, but just might end up being revered in its own right in years to come.

Best Live Band of 2008: Nine Inch Nails

This one was pretty much the hardest category to choose. I was fortunate enough to see dozens of amazing bands this year, and they sure did make this one big ole bastard of a tough choice, which is why I have about a billion Honorable Mentions. But in the end, I'm pretty happy with my final decision.

I can officially state, for the record, that Nine Inch Nails just might be the best live band out there these days.

This year I saw Mr. Reznor and co. twice, one at the Virgin Festival in Baltimore in August, and again in Charlottesville last month.

I've never been a huge NIN fan (which I'm working on correcting), but each time I've seen them I've been totally blown away. They're incredible live. As in, jaw-dropping, awe-inspiring, ass-kicking incredible. It's not just that the music sounds so perfect, which it most certainly does. It's more than that. When you go to an NIN show, you're getting a total concert experience. The Charlottesville show was especially elaborate, a bonanza of fancy lighting and unique stage settings. Nearly every couple of songs, the stage setup and lighting would be rejigged to totally chage things up. And when it comes to showmanship, there are few people out there who can match the intensity of Trent Reznor.

Honorable Mention: The Stooges, Dead Confederate, These United States, Die! Die! Die! the Verve, the National, the Black Angels, Fleet Foxes, Spiritualized, My Bloody Valentine, Brian Wilson





[Photo by Megan Petty]

Halloweekend with Roky Erickson & the Black Angels

In my humble opinion, there is nothing more appealing this Halloween weekend, trick-or-treating be damned, than the psychedelia-laced spectacle awaiting you supremely lucky Left Coast-ians: five (count 'em, five!) shows starring the one and only Roky Erickson and the one and only Black Angels (who, if you've been following us at all this year know them as one of my oh-so favorites).

The mini-tour kicks off this very evening at Seattle's Showbox, and wraps up Sunday, November 2nd as a two-night stand at San Francisco's Great American Music Hall. If I had planned things a little better, this tour would have made quite the fantastic vacation, but hey, at least all you local folks can go out and have a rip-roaring time for me. I mean, let's think about this for a quick moment, shall we? In one evening you can see not only one of the best live bands out there today, but the man, the legend, Roky Erickson, who along with the rest of his 13th Floor Elevators continues to inspire a new generation of countless worshippers of hazy, crazy noise.

Word on the street is that not only will my beloved Black Angels be opening for Mr. Erickson, but acting as his band during his set. If you're in any of the cities on this tour, I'd have to call this show a no-brainer. As in, if you're not at the show, your brain must have been eaten by flesh-eating zombies that are in the process of taking over the world. Here are those dates, in full:

Oct 28 @	The Showbox - Seattle, WA
Oct 29 @	Wonder Ballroom - Portland, OR
Oct 31 @	El Rey - Los Angeles, CA
Nov 01 @	Great American Music Hall - San Francisco, CA
Nov 02 @	Great American Music Hall - San Francisco, CA

The Untitled Interview #6: Starring Alex Maas (the Black Angels)

Keeping in the spirit of (still unofficial) Black Angels month, I'd like to offer the second installment of the Untitled Interview, this time with the man with the hypnotic howl, Alex Maas. In my humble opinion, there are few vocalists out there with even a fraction of the sound and fury that comes out of this gentleman's mouth. His voice is exceptionally powerful and utterly unmistakable. And one thing I noticed whilst seeing them at the Rock'n'Roll Hotel a few weeks ago, despite the astronomical heat inside the venue and his voluminous beard, Mr. Maas didn't seem to break a sweat. Which only indicates just how cool he really is. Further evidence can be heard on every song where he opens his mouth.

Les Enfants Terribles: How the hell are you?
Alex Maas: Heavenly.

LET: What was the last song you listened to?
AM: The X-Files theme.

LET: For your money, who is/was the best Austin band ever?
AM:

LET: Playing music is ___
AM: Heaven on earth and our religion.

LET: What album most made you realize that you wanted to make music?
AM: Abbey Road.

LET: Beatles or Stones?
AM: Beatles.

LET: What're your top 5 albums?
AM: In no specific order but this week it is the Velvet Underground Nico album, Spacelines or The Perfect Prescription by Spacemen 3, Os Mutantes by Os Mutantes, The Psychedelic Sounds of the 13th Floor Elevators, and Dr. Octagonecologyst by Dan the Automator and Dr. Octagon.

LET: Favorite non music-related movie?
AM: "No Country For Old Men." ;)

LET: What city or venue would you like to play, but haven't yet been to?
AM: The largest venue in Tokyo.

LET: Half-full or half-empty?
AM: Half full, fool.

LET: Apart from your band, which of your peers do you think is making the best music these days?
AM: Conrad from, Possesed by Paul James

LET: What's the first thing you think when you wake up in the morning?
AM: "Oh shit, where is all my stuff?"

LET: The greatest record store in the world is:
AM: Waterloo Records vs. Amoeba.

LET: What's the longest flight you've ever been on?
AM: 14 hours.

LET: Shaken or stirred?
AM: Shaken not stirred.

LET: What was your backup band name, in case the Black Angels was taken?
AM: The Shiny Boots of Leather.

LET: If you weren't in a band, you'd be:
AM: Wasting my time.

LET: Best song ever written?
AM: "The Stranger" by Leonard Cohen.

The Untitled Interview #5: Starring Christian Bland (the Black Angels)

Ok, it's probably safe to unofficially declare July to be Black Angels month around these parts, because here comes more BA goodness. At the risk of sounding (too) redundant, you already know I am a wee bit enamored of the five-piece from Austin with the swirling psychedelic chip on their shoulder. Really, if you're not already as smitten as I am, you should seriously reconsider. And now, without further ado, here comes the first half of the Untitled Interview, part one featuring lead guitarist/vocalist (and also graphic designer extraordinaire) Christian Bland.

Les Enfants Terribles: How the hell are you?
Christian Bland: We're doing great. We've been out on tour for almost 5 weeks now, so we'll be returning home to Austin in about 10 days.

LET: What was the last song you listened to?
CB: "Red Rooster: - the Warlocks (during sound check)

LET: For your money, who is/was the best Austin band ever?
CB: 13th Floor Elevators = Best Stevie Ray Vaughn= Worst.

LET: Playing music is _________.
CB: Our portal into the fifth dimension.

LET: What album most made you realize that you wanted to make music?
CB: Sgt. Pepper's Lonely Hearts Club Band.

LET: Beatles or Stones?
CB: the Beatles.

LET: What're your top 5 albums?
CB:
1. The Piper at the Gates of Dawn
2. Psychedelic Sounds of the 13th Floor Elevators
3. Psychocandy
4. The Velvet Underground & Nico
5. Bo Diddley

LET: Favorite music-related movie?
CB: Pink Floyd - Live at Pompeii

LET: What city or venue would you like to play, but haven't yet been to?
CB: I'd like to play in Italy.

LET: Half-full or half-empty?
CB: Half & half.

LET: Apart from your band, which of your peers do you think is making the best music these days?
CB: Psychic Ills & Lower Heaven.

LET: What's the first thing you think when you wake up in the morning?
CB: What am I gonna do today?

LET: The greatest record store in the world is:
CB: Amoeba in LA.

LET: What's the longest flight you've ever been on?
CB: Houston, TX to Paris, France.

LET: Shaken or stirred?
CB: Barbequed.

LET: What was your backup band name, in case the Black Angels was taken?
CB: The Black & Green Scarecrowes.

LET: If you weren't in a band, you'd be:
CB: A preacher.

LET: Best song ever written?
CB: "The Ballad of Paladin" - Johnny Western.

Live Review: The Black Angels @ Rock’n’Roll Hotel, July 2

As it usually does, the drive up to DC from Richmond took a little longer than expected, so as I was walking into the Rock’n’Roll Hotel, the Warlocks’ equipment was being loaded off the stage. I was a little sad not to have seen them, but at the same time I was a woman on a mission. It would appear the Black Angels have grown in popularity since last I saw them, which is great for them but bad for the late-arriving, vertically-challenged amongst us.

When the five space cadets from Austin ambled onto the stage, it seemed that as soon as they touched their instruments a wall of sound began to fill the room, and it would only get louder. To give you an idea, I didn’t wear earplugs, and my ears were still ringing at lunchtime the day after the show. Up first on the set list was the deviantly good “Manipulation,” so droning and so loud I felt like the music was this wave that seeped into every pore. Despite slight volume issues with his mic initially, singer Alex Maas absolutely shredded his vocals, adding extra passion into his vocal parts to play against guitarist Christian Bland’s slightly more controlled vocals. It didn’t take me long to rank this show as a tie for my second-best of the year, and when the lyric “You got the FBI/they ain’t on your side” came up, from second song “You On the Run,” I had my reaffirmation that what I was witnessing was very, very special. What better place to hear that line than in DC?

“The Sniper at the Gates of Heaven” was next, and though it’s always been one of my favorite Black Angels songs, tonight it was even better than the hundreds of times I’ve listened to it. The guitar was extra wicked and almost a little raunchy, and Maas’ flat delivery seemed a tad venomous. It was a spooky little piece of psych rock, played against a backdrop of some sort of projections (again, I said my time there was mostly aural, I couldn’t see much of anything) that swirled and danced across the back of the stage and over the band members. I leaned against the wall during the emphatically excellent “Mission District” and noticed it throbbing from the beautiful noise.

O, sweet fuzzy guitar, how I love you; “Black Grease” was extra fuzzy on this night, and was definitely an audience favorite. I looked at the band, and what I saw was one of the best (and, frankly, best-looking) bands I’ve seen in quite some time. The first time I saw them was no fluke, they really are goddamned amazing. “Doves” was the best I’ll probably ever hear it played, a shimmering fiery mess of time and space and sound. Before launching into the song, Maas thanked the Warlocks, and said something about them being an inspiration (at this point in the night when people weren’t singing they tended to sound like Mickey Mouse, and I couldn’t make out words very well. Always wear earplugs, kids).

“Science Killer” was unbelievably good, the bass louder and the drums pounded into the furthest reaches of oblivion. It, and the rest of the show, was an intense experience. A triumphant “Young Men Dead” was next in line, even more mesmerizing in its’ drone than on the album Passover. As was the rest of the packed room, I was completely entranced. They’re like pied pipers, leading us into the great sonic promised land. “Surf City (revisited)” followed, according to the set list, though I could have sworn I heard "Empire" instead, and they closed out the set with the extended version of the already-lengthy “Never/Ever,” delicious in its far out schizophrenia.

After a brief moment offstage doing the expected pre-encore buildup, the Black Angels came back and played a rousing rendition of “The Return,” and while Bland was “oooh ooh-ing” I realized once more how good this band has become. The final song of the evening was another from new album Directions to See a Ghost, “You in Color.” The frantic jamming was raw to the point of pain, but in the best way. And then, they were gone, leaving hundreds of happy hipsters to flood the streets of DC, ears buzzing and smiles on their faces.

In closing, I’d like to urge you to see this band whenever possible. I'm thinking of following them around the country on their tour, instead of being a Dead Head I'll be an Angel Head. They are the real deal, and I love them to pieces.

July 2: Black Angels Day

In honor of the recent release of their killer sophomore album and their show tonight at the Rock'n'Roll Hotel, we at Les Enfants Terribles hereby declare today, July 2nd, to be Black Angels Day. It might not yet be a nationally-recognized holiday, but we feel this band is much deserving of their own day. So mark it on your calendars, put on one (or both) of their albums, and raise a glass to Stephanie, Christian, Kyle, Alex, and Nate, otherwise known as one of the finest darned rock bands out there today, won't you?

And if you're in the DC Metro area (or just driving up from Richmond, like our own Megan is), make sure to stop by the Hotel to catch the Black Angels and similarly-minded psych-rockers the Warlocks for a double bill of mind-blowing.

Album Review: The Black Angels - Directions to See a Ghost

I first heard the new Black Angels album, Directions to See a Ghost, about a week before I left for Coachella. Since then, it’s pretty much been the only thing I’ve been listening to. I’ve woken up with the Black Angels, gone to work with the Black Angels, fallen asleep with the Black Angels, and flown to California with them. And guess what? I’m listening to them at this very moment, too. If you’re not already as in love with them as I am, prepare yourself, because you soon will be.

The Austinian band made quite an impression with their debut Passover, a swirling, pulsating mess of 60s psych-rock drenched in drone and resonating with reverb and political themes. It was almost too good to be true, and my thoughts wandered immediately to how they could possibly follow up such a good LP. My fears were put to rest as soon as I heard the first few notes of opening track “You on the Run.” The sound and the fury of their nouveau psychedelia is very much present and accounted for. Second song “Doves” is rapidly becoming one of my favorite Black Angels songs, with waves of guitar effects and a powerfully hypnotic beat. Singer Alex Maas shines on this (and well, every other) song, his brassy, slightly off-kilter howl adding to the unmistakable sound of the Black Angels.

It took me a few listens to make it past the fifth track, “18 Years,” because I was seduced by that damned fine bassline. This is sex in song form, and it’s completely and utterly intoxicating. It’s astonishingly good, and for days I listened to it repeatedly. “Deer-Ree-Shee” is next, heavy with sitar and laden with complexity. The band gets all political again, especially on songs like “Vikings,” one of the most haunting tracks on the album. Maas’ flat delivery is backed by mesmerizing, throbbing drumming, and spouts forth lyrics about German warships and bombing you “til tomorrow.”

I cannot possibly endorse Directions to See a Ghost enough. It’s one of those rare albums where nothing anyone can say about it could even begin to do it justice. You just have to bite the bullet, buy it, and experience it for yourself. It is, thus far, my album of the year. It’s a full-scale assault on the senses. In the aftermath, you won’t know which way is up, what year it is, and quite possibly what your name is. And let me tell you, you’re gonna love every single second of it.