Black Mountain

Destroyer

JAGJAGUWAR

Released: 23rd May 2019



dinked edition: DINKED 12

- exclusive clear coke bottle coloured vinyl
- Deluxe bespoke art – DIE CUT SLEEVE (no other version will have this)
- numbered
- Signed 12" x 12" print

Limited to 600


Black Mountain’s new album, Destroyer, named after the discontinued single-run 1985 Dodge Destroyer muscle car, is imbued with all the wild-ass freedom and newfound
agency (and anxiety and fear) that comes with one's first time behind the wheel. Stephen McBean, welding mask pulled over his Alan Watts beard, has even been rebuilding a 1985 Destroyer in his step-dad’s garage all spring — building it from its frame, putting in weekends of work to have this beast ready for sunnier days. And wouldn’t you know it: when the Destroyer's engine gives its deep snarl and the stereo rattles with Metallica's $5.98 EP, McBean is fully in the driver’s seat. 
 
Destroyer is structured around that first time behind the wheel of a hot rod. The fat, charging “Living After Midnight” riffs of opener “Future Shade” is, according to McBean, “Straight outta the gates. FM radio cranked.” He ain’t kidding. The song, and all of Destroyer for that matter, seems to exist at that crucial nexus of the early-to-mid 80s Los Angeles when a war between punk and hair metal was waged. Black Flag’s My War tried and failed to keep the peace. But in the trenches, some hybrid ghoul was beginning to form in bands like Jane’s Addiction and White Zombie. The heavy extended player “Horns Arising,” with its Night Rider vocals and golden, climbing Blade Runner synths, is a fill-up at a desert gas station just in time to see a UFO hovering near a mesa. And other songs, like  The serpentine “Boogie Lover” is a cruise down
the Sunset Strip. You pull into The Rainbow Bar & Grill to take the edge off. Doesn’t matter what year it is, Lemmy’s there in flesh or spirit. To continue the teenage theme, there’s also a sense of  to these cuts — “High Rise” is a foray into Japanese psych, rounding the bend to a careening, youthful sense of discovery,  while “Closer to the Edge” feeling like falling in love with Yes (Remember how good they were for a minute there in your youth?).  “Licensed to Drive” would easily be the most exhilarating and dangerous ripper on a titular film’s soundtrack, a dose of heavy right before the muscle
car’s wheels fly off going 100 mph on the freeway.
Some of these zombie hesher jams were sent on a journey to Canada where longtime band member Jeremy Schmidt, slipping on the Official Collaborator satin jacket, had at them with his legendary synth arsenal. As he added long flowing robes, sunglasses,
driving gloves and medallions, the undead songs began to transform into the new breathing creatures that make up Destroyer. Schmidt’s work with these songs was the needed transformative glue for this new era of Black Mountain. 
 
New members include Rachel Fannan (Sleepy Sun) and Bulgasem (Dommengang & Soft Kill) plus other familiar names like Kliph Scurlock (Flaming Lips), Kid Millions (Oneida), and John Congleton (St Vincent, Swans) take a turn in the shotgun seat. Collectively, there’s a renewed vitality to Black Mountain on Destroyer — a seasoned, veteran of heady hard rock that’s found new, young muscles to flex and roads to explore.