In the dark, hunkered-down, showless expanse of time that was Winter 2020/2021, then-Long Beach-based heavy psychedelic rockers Spirit Mother took part in the livestream series ‘Live in the Mojave Desert’ (review here) at the behest of producer/director Ryan Jones, whose Giant Rock Records would later release the resultant live album(s) in cooperation with Heavy Psych Sounds. In Spirit Mother‘s case, the live record made for a vibrant follow-up to their 2020 debut LP, Cadets (review here), and helped showcase what the band might have to offer on tour when and if such things ever became possible again.
They did, and starting this Saturday, Spirit Mother — now relocated to Eastern Oregon, as we’ve all fantasized about doing at one point or another — will kick off a weekender leading to a longer stint in the formidable company of Blackwater Holylight on the West Coast/Midwestern portion of that band’s inaugural headlining tour. To mark the occasion, the then-four-piece of bassist/vocalist Armand Lance, violinist/vocalist SJ Lance, guitarist Sean McCormick and drummer Landon Cisneros offer the new video below for “Black Sheep,” taking the Cadets audio and bringing the nighttime vibes from Live in the Mojave Desert Vol. 3 (review here) to create a ritualistic visual that’s meditative and seething with violence at the same time. I won’t spoil it, but it’s fairly consuming.
Since recording Cadets and performing the livestream, Spirit Mother have become a (sort of?) five-piece with the addition of Camille Getz to at least the touring lineup. I’m really not sure the status on that. Tell you what, if you go see them on tour, let me know who’s there — thanks in advance. In the meantime, I and anyone else sharing the geographic misfortune to not be on the other side of the Mississippi River have at least this video to dig into like so much raw organ meat, and while I would love, love, love to tell you all about Spirit Mother‘s new album, their lush, ranging, folk-informed psychedelic unfurling and this and that and whatever else I might say, I have no knowledge (truly) of such a thing existing or even being in the works. Let them tour first, then we’ll worry about the rest.
All of which is to say this: “Cool band. Hope they do more soon. Go see them if you can. Enjoy the video either way.”
Thanks for reading:
Spirit Mother, “Black Sheep” video premiere
Spirit Mother is an American heavy-psych rock group. Originally hailing from Long Beach, CA, an isolated ranch house in the high-desert of Eastern Oregon now serves as home base for the band.
The band stayed busy during lockdown by putting together a new collection of music. The first two songs of this collection were released exclusively for their acclaimed live record/concert film, “Live In The Mojave Desert Volume 3” a Stoned And Dusted production released jointly by Giant Rock Records and Heavy Psych Sounds Records.
Spirit Mother Tour Dates: May 28 – Bozeman, MT – Filling Station VFW May 29 – Rapid City, SD – Cave Collective May 31 – Des Moines, IA – Gaslamp June 1 – Chicago, IL – Sleeping Village (w/Blackwater Holylight) June 2 – Milwaukee, WI – Cactus Club (w/Blackwater Holylight) June 3 – Green Bay, WI – Lyric Room (w/Blackwater Holylight) June 5 – Omaha, NE – Slowdown (w/Blackwater Holylight) June 7 – Denver, CO – Hi-Dive (w/Blackwater Holylight) June 8 – Salt Lake City, UT – Metro Music Hall (w/Blackwater Holylight) June 9 – Boise, ID – Neurolux Lounge (w/Blackwater Holylight) June 17 – Felton, CA – Felton Music Hall (w/Blackwater Holylight) June 18 – Los Angeles, CA – Lodge Room (w/Blackwater Holylight)
Posted in Reviews on April 13th, 2021 by JJ Koczan
Late in 2020, when the project was announced, Live in the Mojave Desert sounded immediately ambitious. A series of five exclusive streams, taking bands and putting them out in the Californian deserts, with civilization somewhat visible from the aerial drone shots, but definitely far enough away to have been left behind, to record live sets by Giant Rock (see also: Yawning Man, Live at Giant Rock, the video/LP something of a precursor) and be captured doing so by professional audio and video. The series was successfully pulled off, which was impressive in itself, and it set a standard for heavy acts in this era of streaming that few could hope to match. The intention was concert-film, and the results were likewise.
Heavy Psych Sounds and the newly-formed Giant Rock Records — helmed by series director Ryan Jones — have overseen physical pressings of the sets as live albums, taking the audio caught by Dan Joeright of Gatos Trail Studio in Joshua Tree with mixing by Matt Lynch at Mysterious Mammal and others. From this comes Live in the Mojave Desert Vol. 1-5, and from the moment Isaiah Mitchell starts echoing out the notes that signal the pickup in “Violence of the Red Sea” to the final wah-out, crashes and shout of Mountain Tamer‘s “Living in Vain,” it remains clear the series is something special — a grand monument built to an ugly time.
The crazy thing about this series — or one of the crazy things, anyhow — is that if it had been just Earthless, that probably would’ve been enough to be staggering. Admittedly, it is difficult to hear the audio from bassist Mike Eginton, drummer Mario Rubalcaba and the aforementioned Isaiah Mitchell and not think of the desert at night being lit up by the Mad Alchemy Liquid Light Show, drones flying overhead as trippy lights flash and shift with the music, but I’m not sure that’s a bad thing. Earthless played three songs — “Violence of the Red Sea,” “Sonic Prayer” and “Lost in the Cold Sun” — and that’s enough to make their release the only 2LP of the Live in the Mojave Desert set, topping out at about 77 minutes, with the entirety of sides C and D dedicated to “Lost in the Cold Sun”‘s 39-minute sprawl.
There’s a reason Earthless were the headliners for this thing, and it’s because there’s no one else who has the same instrumental dynamic they bring to the stage — or sand, as it were — and because if you’re going for “epic” as a standard, they’re the band you call. Will Live in the Mojave Desert Vol. 1 replace Live at Roadburn 2008 (discussed here) as the band’s supreme live-recorded statement? I don’t know, but it sure sounds incredible. “Sonic Prayer” comes through with due sense of worship and “Lost in the Cold Sun” fuzzy grace feels like the kind of thing a future generation might think of as classic rock. Watching, it was easy to get lost in the show, follow the head-spinning turns of guitar atop the ultra-sure foundation of bass and drums, and listening, it’s the same. With an exquisite mix and a vital performance, it’s every bit the best-case-scenario for what Live in the Mojave Desert could and should be.
With Live in the Mojave Desert Vol. 2, I consider Nebula‘s comeback complete. The band reformed in 2017, hit the road hard, and in 2019 offered up the return studio full-length, Holy Shit! (review here), and toured again for as long as that option was available. They have new material in the works too, and what’s most striking about the trio’s performance the 10-song/48-minute set here is how characteristic it sounds. Drummer Mike Amster (also Mondo Generator, etc.) and bassist Tom Davies strap the listener down while founding guitarist/vocalist Eddie Glass takes off to the center of the universe, and amid classics like that opener, Holy Shit! cuts like “Messiah,” “Let’s Get Lost,” “Man’s Best Friend” and the new song “Wall of Confusion” fit right in. There’s never a doubt, never a question of who you’re hearing. Even the sloppiest moments are pure Nebula.
That’s what they’ve always been — part punk, part heavy psych, part pure go — and Live in the Mojave Desert Vol. 2 brings that to bear without question. As a follow-up to Holy Shit! as well as the band’s second sanctioned live recording behind 2008’s Peel Session, it captures their inimitable sonic persona and the sense of chaos that their material always seems to carry, like it’s all about to come apart at any second and if it did, fuck it anyway, you’re the one with the problem. It never does come apart here, which I guess is to the band’s credit as well, but this set is nonetheless a full expression of who Nebula are as a group. Now get to work on that next record.
If one might think of including Spirit Mother in the series as a risk, the risk was mild at best, and as the first of two bands representing a next generation of California’s heavy underground, the Long Beach troupe more than acquitted themselves well in their relatively brief 10-song/33-minute showing. Live in the Mojave Desert Vol. 3 basks in the violin-conjured atmospheres of the four-piece’s debut album, Cadets (review here), and wants nothing for impact to complement that ethereal sensibility. Their songs are short, and that gives them a kind of proto-grunge edge, and the vocals of bassist Armand Lance, who shares those duties with violinist SJ, add drug-punkish urgency to the procession of one song into the next.
For a band coming off their first album, they are intricate in aesthetic in ways that might surprise new listeners, and that’s exactly why they feature behind Nebula in this series. Hearing them dig into “Black Sheep” and “Martyrs” and “Dead Cells” on Live in the Mojave Desert Vol. 3 is the best argument I can think of in favor of signing the band for their next studio release, and if Heavy Psych Sounds doesn’t, someone else surely will. Not trying to tell anyone their business, of course, but Spirit Mother are happening one way or another. That combination of air, earth, and fuzz is too good to leave out.
Aired fifth but billed almost inevitably as Vol. 4, the unveiling of Stöner, the new trio from Brant Bjork and Nick Oliveri with Ryan Gut (also of the former’s solo band) on drums was a bonus to the Live in the Mojave Desert. On-again-off-again collaborators across decades, Bjork and Oliveri nestled into mostly laid-back, stripped down grooves, their stated purpose in going back to the roots of the sound they helped create in the first place. The Kyuss-ness of the central riff of opener “Rad Stays Rad” is no less demonstration of their having done so than the driving punk of the Oliveri-fronted “Evel Never Dies.” The vibe is nostalgic in that song, as well as “Rad Stays Rad,” the gleefully funked “Stand Down,” and “The Older Kids,” but if Stöner is about looking back at this point, they’re doing so with fresh eyes.
To wit, “Own Yer Blues,” “Nothin’,” and the 13-minute mint-jam finale “Tribe/Fly Girl” are more endemic of who these players have become than who they were in the early ’90s or before, and that applies to “Stand Down” too. Bjork‘s vocals sound double-tracked on some of the parts (or at least close delay), but he and Oliveri work well together as one would expect, and as a reveal for what these guys had come up with in renewing their collaboration, Live in the Mojave Desert Vol. 4 offers seven memorable songs that would make anything more seem unnecessarily fancied up. If their calling card is that rad stays rad, they prove it. And I know he’s not the top bill in the trio with Bjork‘s flow and Oliveri‘s bass tone, but Gut‘s contributions here aren’t to be understated.
Second only to Stöner in curiosity factor, L.A. trio Mountain Tamer have always held a darker edge in their sound, and that comes through in the brash 36 minutes, shouts and screams echoing out over fuzzed garage metal in a fuckall that’s punk in attitude but angrier in its underlying core. Guitarist/vocalist AndrewHall, bassist Dave Teget and drummer Casey Garcia are the kind of band who open the show and sell the most merch when they’re done. The elements they’re working with are familiar and have been all along in their decade together and across their three LPs — the latest of them, 2020’s Psychosis Ritual (review here), was released by Heavy Psych Sounds — but more even than in their studio work, Live in the Mojave Desert Vol. 5 brought to light just how much their own their sound really is.
Whether languid as in “Chained” or “Black Noise” or furious as in “Warlock” and “Living in Vain,” Mountain Tamer give Nebula a run for their money in terms of chaos, and easily make for the most pissed off listen of the bunch in Live in the Mojave Desert. The relative roughness of their edge suits them, however, and the rampant echo on the guitar assures there’s still a spacious sound to act as counterbalance to all that thrashing and gnashing. If you can call it balance, I don’t know, but it works for them and they wield their sound as knife more than bludgeon when it comes to it.
