The saga of Black Mountain continues without a false step, a journey that has over time taken on the shape of a monolith firmly rooted in the hard psychedelia born of the '60s and '70s. “Destroyer”, the Canadian outfit's fifth album, further extends their winning streak, confirming a level of consistency we can by now invest in with our eyes closed.
In the months leading up to the release of “Destroyer” there were several line-up changes, some of them quite significant: Amber Webber, long the band's female voice and a decisive presence on so many compositions, and Joshua Wells both left the fold, replaced by Arjan Miranda, Rachel Fannan (Sleepy Sun) and Adam Bulgasem (Dommengang, Soft Kill). Meanwhile, Kliph Scurlock (Flaming Lips), Kid Millions (Oneida) and John Congleton (St. Vincent, Swans) stepped in to lend their occasional contributions.
Preceded by the two singles “Future Shade” and “Boogie Lover” — the former of which can be considered the record's new official anthem — with “Destroyer” the band led by Stephen McBean plays it safe on one hand, often settling into comfortable territory already well trodden in the past, as in the case of “Horns Arising”, which blends big guitars, vocoder and bucolic interludes bordering on prog, the heavier “Licensed To Drive”, and the space-tinged interlude “Closer To The Edge”.
At other times, the band instead tries to surprise: not so much through the whirling glam of “High Rise”, but rather in the admirable synthesis achieved on “Pretty Little Lazies”, which spins together sonic modes once belonging to the Doors, Jeff Buckley, Sabbath and Barrett, and above all in the closing “FD 72”, wrapped in proto-wave spirals that recall Berlin-era Bowie. These are the turning points that inject renewed vitality into “Destroyer”, marking it as an interim step toward a promising future that shows no sign of running short on new ideas.
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27/05/2019
This article is an English translation of the original Italian text by Claudio Lancia, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.