Black Mountain

Black Mountain

Bob Log III, ZZZ

Sat, March 18, 2017

8:00 pm

$15.00

This event is 21 and over

Black Mountain
Black Mountain
"We were toying with the idea of calling the album Our Strongest Material To Date" laughs Jeremy Schmidt. The Vancouver outfit's keyboardist can afford to joke about what they describe as "the dog-eared ace of spades of all rock band platitudes." It was during a solo show under his Sinoia Caves alias that he performed a revelatory electronic prototype for Mothers Of The Sun. This quintessentially Black Mountain tour de force kicks off the renamed but still accurately titled IV. "It's actually an older song which we couldn't get quite right before," explains Schmidt. "It has all the elements that we gravitate towards, built into one miniature epic."
Chief among these elements is the distinctive voice and breathtaking range of Amber Webber, whether she's powering through interstellar boogie on Florian Saucer Attack, setting the celestial tone for her beautifully orchestrated ballad Line Them All Up, or constructing the choral midsection for Space To Bakersfield, a psychedelic soul finale inspired by Funkadelic's deathless Maggot Brain. "We'd meant to have an actual choir, but I ended up singing all the parts. It's a choir of me! I'd never written an arrangement like that before."
The group's sense of rediscovery as a creative whole is tangible throughout. They were joined in the studio by spiritually attuned bassist and veteran purveyor of the riff, Arjan Miranda (formerly of S.T.R.E.E.T.S, Children, and The Family Band) whose roots, heart and soul are connected to the same soil and cement that Black Mountain were borne from. Recording was primarily done in close collaboration with Sunn O))), Wolves In The Throne Room and Marissa Nadler producer Randall Dunn, at his trusted Avast! facility in Seattle. "It's got some grit," enthuses guitarist and co-vocalist Stephen McBean. "And there's a history there: Northwest punk, grunge and general weirdo outsider stuff, plus it houses the same Trident mixing board used for Alice Cooper's Billion Dollar Babies." A heightened mystique and dramatic yearning can be heard on such perfectly formed earworms as Cemetery Breeding, described by drummer, engineer and occasional pianist Joshua Wells as "a dark pop song with an emotive urgency to it that taps into my teenaged eyeliner-and-trenchcoat wearing sensibilities." Wells' eclectic tastes and multitasking flair – his supple percussion also provides the backbone for Dan Bejar's world-conquering Destroyer ensemble – inform Black Mountain's wider palette as well as their rhythmic choices. "It's like painting. All sound colour. And space is really important. People think of us as this heavy rock band – and we are sometimes – but it has to be tempered with space. There has to be these emotional cues. It's not just about rocking out." Check out the way Amber and Stephen's harmonies telepathically entwine on cosmic standout Defector, or Constellations' unforced confluence of synthesizer pulse and double denim riff. In addition to being blessed with a melodic facility that eludes most rock groups, Black Mountain effortlessly echo the limitless possibilities of the internet age. Sonic tributaries that never met in the real world – AC/DC and Amon Düül, Heart and Hawkwind, King Crimson and Kraftwerk – flow together on IV as they do online. It fits with McBean's unifying theory of the modern YouTube stoner, wherein "kids discover their own alternate universes online, from Cologne to Melbourne… Detroit to Laurel Canyon.. the ice age to annihilation. There's a new scene with a different set of headphones creating a postmodern futuristic Fantasy Island. All those fledgling heads in waiting escaping within their computer screens!" This impulse to connect is reflected by the band members' activities and journeys outside the mothership. Josh and Amber have their self-run Balloon Factory studio and pop-noir Lightning Dust project. Stephen relocated to Los Angeles six years ago. Traveling and creating via his Southern Lord released hardcore unit Obliterations and ongoing post-punk rock 'n' roll combo Pink Mountaintops (whose heady sometimes electronic throb led to the majestic, mantra-like You Can Dream). "There's something very West Coast about us all." he says. "That rambling restlessness of keepin' on guides us and keeps the music alive. Whether it's the gravitational pull of the Pacific Ocean that draws us back together or simply a good taco… The turning up, turning on and getting down is Black Mountain. It's home, and it always feels good to come back to. " Back in Canada, meanwhile, Jeremy, channeled his analogue synth mastery and youthful John Carpenter worship into the hugely acclaimed cult science fiction film score Beyond The Black Rainbow. He's been busy of late conceptualizing Black Mountain's "mystic Concorde" art direction. Referencing the hallowed aircraft's future/past iconography, his designs are emblematic of IV's spatial diversity and maximalist astral-rock vision. You know, it really is their strongest material to date.
Bob Log III
Bob Log III
So when you see a man in a jumpsuit and full-face helmet rigged up with a telephone receiver come barreling down the honky-tonk stairs in a lifeboat while beating away on a hollow-body guitar, don't get out of the way. Jump right in there with him. And as long as you live, you'll never forget what he taught you.Taipei Times December 2015

A man in a human cannonball suit soon appeared from a side door, his head completely obscured by a tinted black helmet, its front welded into a telephone which seemed to wirelessly amplify his voice to the audience. Bob Log III launched into a mind-blowing set, finger-picking his beaten-up black guitar for a sound of steel string blues and heavy rock n' roll. The sound was reminiscent of Jon Spencer Blues Explosion if it had to be categorised, but his music would be better described as Jerry Lee Lewis crossed with a little of Tom Waits' heavy industrial sounds.yorkpress.co.uk 2012

One would have to be in a pretty foul mood not to be entertained by the mysterious awesomeness of Bob Log III. Sure, his musical skills are something to behold, his one-man-band brand of blues/Americana displaying dexterity, creativity, and plenty of good old rock n' roll, but then there's his wacky persona. At Monday's packed Union Hall gig, Mr. Log leaped from behind the curtain that functions as the stage door in his signature getup: a full suit with bits of gold teasing at the bottom, and a dark-glassed racing helmet with a phone receiver wired as a mic. After a quick intro jam he shed the formality to reveal his shimmering gold full body suit, the very rocket man the audience had been waiting for, and burst into "Goddam Sounds Good" off the recently released My Shit Is Perfect. theowlmag.com

Bob Log III's live shows are wild affairs. Bob likes to ride rubber dinghies across the heads of his audience and summon women onstage to stir his whiskey with their tits. nme.com 2009
ZZZ
It all started some years ago when they came into the possession of an old church organ. Armored with the organ and a simple drum kit and producing little more than some noise, after less than a week they already made their first appearance. Playing this party of a hometown infamous smuggler, the noise turned into music and the Sound Of zZz was born.
Their killer debut album (Sound of zZz - 2005), recorded for the biggest part on their boat-turned-music-factory, was the kick off for a two year tour around the globe. A few months in the USA, shows in Japan, Russia. All over Europe including festivals like Benicassim and Glastonbury: Name a roaring sea and zZz has sailed it. Mostly on their own but when loneliness hit, they always found good companionship (Fatboy Slim, the Gossip, Happy Mondays, Franz Ferdinand, the Ex…). During these two years, zZz became known for their brutal and intense live performances and their massive sound not seldom leading to outrageous sex riots.
Apart from the obvious sex, drugs and souvenirs, their music and videos brought zZz awards (Grip won the Music Video Of The Year-award), great reviews (including 4 stars in MOJO and 5 stars in Hustler Magazine, mind you) and numerous appearances in games (GTA), movies, series (CSI) as well as in edgy Italian and Japanese commercials (QP) and most recently a pan-European FIAT-campaign.
After their two year trip, zZz harboured in their hometown Amsterdam and submerged to work on their second album Running with the Beast: a catchy yet freaky, brutal yet sweet, dark yet danceable album which would be criminal to categorize in just one lousy genre. Like the mentioned in the ****review in Mojo. "..a whole lot of influences, yet somehow zZz have found a shade of black that's entirely theirs.".. see below..
After the release of Running with the Beast, zZz toured extensively throughout Europe and Russia among which such places as the Moulin Rouge in Paris, Sziget festival in Boedapest, all major clubs in Italy and supported Pavement.zZz made a new score for Frankenstein (1936), the classis horrormovie. They also created a score for a short movie 'de Boule de Boule' featuring Tygo Gernandt.Currently they are working on their new album and writing music for a theatre play which will feature Frits Lambrechts and Sylvia Kristel.
Running With The Beast is out now on ANTI- Records.
Venue Information:
Alex's Bar
2913 E Anaheim Street
Long Beach, CA, 90804
http://www.alexsbar.com/