Black Mountain In The Future CD

Black Mountain: Stephen McBean (guitar); Joshua Wells (keyboards); Matthew Camirand (electric bass); Jeremy Schmidt, Amber Webber.
After the surprise success of Black Mountain's self-titled debut and their equally surprising tour with Coldplay, the media focused attention solely on band founder and riff-o-matic guitar god Stephen McBean. With IN THE FUTURE, their seismic follow-up, the Vancouver quintet casts aside McBean's lone genius act with an emphatic statement: Black Mountain is a band.
Singer Amber Webber's haunting vibrato is as much a presence on IN THE FUTURE as McBean's anguished husk, and dominates on the beautiful closing track, "Night Walks"; bassist Matt Camirand and drummer Joshua Wells keep the tempos patient but insistently heavy; and Jeremy Schmidt's sinewy Moog and Hammond lines recall Hawkwind and Deep Purple in equal measure, and are thankfully placed high in the mix. The group dynamic bolsters McBean's ever-incendiary riffs and deepens the Sabbath-meets-VU promise of their debut. IN THE FUTURE features the stunning "Bright Lights," an album-side length statement of purpose. Space-trucking nation, unite!
During the nearly three years between Black Mountain's self-titled debut album and its sophomore full-length In the Future, there had been extensive touring, a first attempt at recording which proved to be a false start of sorts (though some of those songs ended up here), and a kind of development that would seem radical if these Vancouverites weren't so quirky to begin with. Certainly, the roots of this sound are evident on the debut album. It's loaded with trippy neo-psych folk and rock tropes. But these are counterweighted with a drenched-in-prog-and-Sabbath bombast that makes the title seem ironic. If not laugh out loud funny. That's right: prog rock and Black Sabbath-like riffery and knotty, multi-part structures worthy of Greenslade are all entwined with pixie-ish protocol, acid-laced folk (think Melanie meets Sandy Denny meets Grace Slick's early period duets with Marty Balin and Paul Kantner on the Jefferson Airplane's Surrealistic Pillow and Volunteers). The weird thing is, despite its obvious nods to rock collections, including not only Sabbath's Master of Reality but Jethro Tull's Thick as a Brick, Hawkwind's Warrior on the Edge of Time, Peter Hammill's entire Charisma period, Eloy's first three albums, Rush's 2112 (where some of these rather drenched-in-warped-myth lyrics were derived from; but then they're Canadians too), and Led Zep's Physical Graffiti, with a touch of the optimism of Thunderclap Newman and Graham Nash -- all is tempered by Neil Young's sleepy delivery -- sometimes in the same song! The sheer heaviness of tracks like "Stormy High," that wails out of the gate with guitars in full pummel riffage, fuzzed out bassline, and floor tom, bass drum, hi hat fury are stretched out by layers of Mellotrons! Then, Stephen McBean and Amber Webber begin wailing wordlessly à la "Immigrant Song," before McBean takes the lead vocal and you're ready for your space rock pith helmet! Where's Michael Moorcock when you need him? He's about all that's missing. It gets more insistent before it lets up with the starting-in-fifth-gear "Tyrants," that winds and wends its way through a multi-dimensional journey densely packed with sonic wonkery, key and time changes, and the feeling of a journey through time and space for over eight minutes. The sheer sonic throb is balanced by long, droning Mellotron and analogue synth drones, tribal, chant-like drumming, and the pleading, world-weary, vulnerable voice of McBean. It's quite a thing, but it's only a precursor to the truly epic "Bright Lights" near the end of the set that rages on for nearly 17 minutes. Fuzzy electrics, shimmering acoustics, and trance-like keyboards flit in and out between the alternating vocals of McBean and Webber. The music picks up intensity, shifts direction numerous times, and careens across the rock and folkscapes of rockRolling Stone (p.64) - 3.5 stars out of 5 -- "In stoner-detention epics like 'Wucan' and 'Queens ...