MIEN – 7th Level Music

Review: Alex Maas – Levitation Sessions

Essentially a live version of Alex Maas’ (of The Black Angels, MIEN, and other projects) first solo album, Luca, Levitation Sessions is, as he puts it in the notes on his Bandcamp page, “…a glimpse into what a tour on this record would look like had we not been in a pandemic.”

It’s a shame he wasn’t able to tour behind it, because this live session shows how good those shows would’ve been. The songs aren’t as loud or face-melting as many Black Angels songs, but they are no less haunting, hypnotizing, and mood-altering. “Shines Like the Sun” opens the album with Maas singing to his family about their changing, blessed dynamic. “Special” fades in and out like incense smoke curling out of a temple or efficiency apartment window. Maas’ voice has always sounded like it was made with built-in reverb, and “All Day” is a great example of this. The dub flavor of it is outstanding.

The thumping bass of “Elastic” gets under your skin as much as Maas’ lyrics like, “We don’t want you to die. We just want you to suffer the rest of your life.” You get the feeling that the “we” he’s referencing are forces perhaps out of our control or even understanding. “Leather in the Foreground” has a slinky, kinky groove to it – which is absolutely appropriate for a song with a title like that.

“The city makes you feel so small…Sometimes love seems so damn far away,” Maas sings on “500 Dreams,” one of the loveliest tracks on the album and written to his child as he hopes for the best for him in a world that seems determined to bring all of us down to the lowest level.

“Keep Your Balance” induces dreams of faraway lands and exotic, somewhat dangerous fantasies amid hand percussion, Middle Eastern strings, and vocals that almost becomes mantras. “Too Much Hate” was written before the last election, and, unfortunately, its message still holds true. “Slip Into”…what, exactly? Judging from the sound and feel of the song, it could be anything from sleep or a warm bath to eternal sleep or a cold shower.

The slow, country ballad sound of “Paint You in the Sunshine” is a pleasant surprise, and certainly highlights one of many of Maas’ Texas regional music influences. “The Light That Will End Us” covers one of Maas’ favorite songwriting topics – death. His voice, slightly altered by reverb effects, becomes a ghostly call from a bright light that embraces shadow rather than cast it. “American Conquest” covers another base that Maas likes to write about – war. The opening bass and guitars on it grab you by the collar and demand you listen – almost talking the forefront from his vocals.

“You should’ve been struggling like all of the rest,” Maas sings on “Shoulda Been Struggling” – a song full of uplifting guitar riffs and messages to close the album. There are people out there who want you to share their misery, and cannot fathom why you won’t. They want you to mourn how they mourn, protest what they protest, dislike what they dislike, shun what they shun…but you know in your heart that such endeavors are wastes of time and energy.

This album isn’t. It’s a beautiful record from a gifted musician and writer that will make you view things in a different light.

Keep your mind open.

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Top 30 Albums of 2018: #’s 15 – 11

We’re halfway there!

#15: MIEN – (self-tited) – This psychedelic supergroup (featuring members of the Black Angels, Elephant Stone, the Earlies, and the Horrors) had a fine debut indeed with this record that dabbles in some of the darker sides of psychedelia.

#14: Slaves – Acts of Fear and Love – How can two lads make so much punk noise? Easy, they’re powered by anger, satire, ferocious beats, and shredding guitar. These cats are probably the Next Big Thing, but I doubt they give a damn about that.

#13: Hprizm – Magnetic Memory – This rap record has more layers than an onion, wicked beats, philosophy, and calls for the disenfranchised of all colors, sexes, and creeds to band together.

#12: D-Tension – The Violence of Zen – Fierce hip-hop. That’s the best way I can describe this solid record from Boston MC D-Tension. He’s one of the wittiest rhymers out there and deserves to be heard more across the world.

#11: Caroline Rose – Loner – This pop-punk record is full of witty lyrics, sex, and snark. Rose is like a ninja – jumping out of the shadows to wallop you and then retreating back into the rock and roll shadows to plan her next attack.

We’re into the top 10 next!

Keep your mind open.

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Top 30 Concerts of 2018: #’s 15 – 11

We’e halfway through the list now. Who made it? Read on and find out, my friend.

#15: Public Practice at Chicago’s Hideout – This was probably the closest I’ll get to seeing WALL live, and it was well worth the trip and risking the snowstorm on the ride home. Public Practice played their entire debut EP, Distance Is a Mirror, and sounded like they’d been playing together for years.

#14: MIEN at Levitation Austin – This was the first live show of the psychedelic supergroup, and bass / sitar player Rishi Dhir told my wife and I earlier in the day that they were nervous about premiering the material from their debut record. He had nothing to worry about, because they nailed it. Their set was one of the highlights of the festival for us.

#13: King Gizzard and the Lizard Wizard at Chicago’s Riviera Theatre – It was packed to the gills, humid outside (to the point of fog obscuring the tops of buildings) and inside, loud, and trippy. In other words, it was everything you’d want from a KGATLW show.

#12: Radar Men from the Moon at Levitation France – This was the last set we saw in Angers, and it was a solid set of psychedelic electro from a band that normally plays guitars and drums. We weren’t sure what to expect from them, and they about floored us.

#11: Flamingods at Levitation France – These guys swapped instruments so many times on stage that we lost track of what normally played what. They unloaded a fierce, funky set of Middle Eastern-twinged psychedelia that was top-notch.

Up next, the top 10!

Keep your mind open.

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Top 20 Singles of 2018: #’s 15 – 11

#15: “Christmas Time Is Here” by Khruangbin – Seriously, their cover of the Vince Guaraldi Trio classic is a pure delight and a lovely oasis during the crazy Christmas season.

#14: “I Came Back to Bitch” by L7 – The exact opposite of the above track, this tune is a kick in the junk from these punk legends who have been simmering with aggression and fire for a few years now. It was a welcome comeback for them and a great example of what to expect on their upcoming album this year.

#13: “Black Habit” by MIEN – Possibly the creepiest track on my top 20 list. This song was the first single release by this psychedelic supergroup, and it instantly got under your skin and crawled around in there.

#12: “Fresh” by D-Tension – Full disclosure, D-Tension and I knew each other in middle school. He grew up to be a major player in the Boston hip-hop scene and on Boston radio and this year he put out one of the best hip-hop singles of 2018. My jaw dropped when I heard this.

#11: “The Hype” by Shopping – I knew this song by these British post-punks was going to be in my top singles list as soon as I heard it. The bass groove is wicked and the track feels and sounds like a good time.

Who makes the top 10? Come back tomorrow to find out, amigos.

Keep your mind open.

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Levitation France 2018 recap

This year was not only the first time my wife and I traveled to France, it was also the first time we traveled to Levitation France in Angers – a mid-size town about one and a half hours by train southwest of Paris. It was the sixth year of the two-day festival and we’d wanted to go ever since we started attending Levitation Austin in 2013. The dates finally worked out this year, so we made the trip.

First, the festival is held in Le Quai – a great performance space venue in Angers along the Maine River. It has at least five performance areas in it, and the festival uses two of them for shows, two for food trucks, one for merchandise, and one for a bar.

That’s the outside of the venue in the main food truck area. Immediately inside that big open door is the main stage (called the “Forum”). We didn’t start there, however. We started in the smaller performance space (“T400”) at the back with French garage rockers Wild Fox.

They were the first band on the first day, and they came to make a statement. They threw down wild energy that whipped up the early crowd, ending by kicking apart their drum set, playing with broken strings, and churning out plenty of good feedback.

I’ve heard a lot of good things about the new album from La Luz, so we checked out their set on the Forum stage. They had a good crowd, and their California sun-drenched psychedelia was a nice match for the sun coming in through the window behind them.

We grabbed a bite from the food trucks (where I scored some tasty Senegalese food), and then headed toward the T400 stage to check out Pigs Pigs Pigs Pigs Pigs Pigs Pigs. On the way there, we passed Holy Wave doing their soundcheck on the Forum stage. They were playing Interpol‘s “Untitled,” much to the delight of myself and a woman who came running from the back bar to cheer them.

Pigs x 7 were so loud and heavy that we had to fade back a bit and leave their set early. I think my wife’s head was about to split open from the intensity. We caught Holy Wave‘s set. They’re another band I’ve wanted to see for a while, and they put on a nice set of Texas psych-rock and seemed to be having a great time.

We then zipped back to the T400 stage to catch most of Prettiest Eyes‘ set. It was our favorite of the night. The electro-punk oddballs from Puerto Rico and Mexico put on a great show with crazy beats, boundless energy, and plenty of swagger. My wife picked up a button from their merchandise table afterwards. I need to get their latest album. John Dwyer of Thee Oh Sees said at Levitation Austin this year that they’re one of his favorite bands. It’s easy to see why when you see them live.

We headed back to the Forum stage to see the Soft Moon. If you haven’t figured it out by now, the two stages are so close together, and the set times staggered so well, that you can see every band that plays over the course of the two days without trouble (and usually see their full sets). We saw the Soft Moon at our first Levitation Austin festival, back when it was still known as the Austin Psych Fest. It was good to see them again and get a hefty dose of industrial dark wave.

We ended the first night with the Blank Tapes, who my wife was keen on seeing after she checked out one of their videos. They have a nice, mellow sound that blends some folk with their psychedelia. My favorite song during the set was one the lead singer wrote to sing to his house plants (“Not marijuana…Regular plants.”).

On day two, we got to Le Quai in time to see Bryan’s Magic Tears start the show. They played a nice set of psych-pop, but hunger won over on us and we headed to the food trucks for some crepes and a great Senegalese chicken sandwich.

Go! Zilla were on the Forum stage immediately after them, and they provided some nice psychedelic dinner music for us.

The biggest surprise of the day, and possibly the whole festival, was the set by Flamingods. They put on a wild set of Middle Eastern, Afrobeat, and psychedelic music that had the members changing instruments so many times that I couldn’t keep track of whom mainly played what.

We then caught Juniore on the Forum stage. They’re an electro / post-punk three piece from France who put on a quirky, neat set with one of them wearing a silver mask the entire time. My wife said it reminded her of a Sleestak from Land of the Lost.

We were keen on seeing MIEN at the festival since we’d been at their premiere live gig at Levitation Austin earlier this year. They didn’t disappoint and are well in the groove after a lot of touring to support their debut album of dark psychedelia.

Another fun surprise was the set by French electro duo Oktober Lieber. They were heavier than I’d expected and threw down some impressive industrial dance grooves.

The rest of the night was full of electronic music for us. First was French musician Flavien Berger – a one-man show of techno beats, vocal effects, and synth work.

We ended the night, and our first Levitation France festival, with Radar Men from the Moon, who played nothing but synths, keyboards, and sequencers instead of their usual guitars and drums. It was a great, powerful set that made us run for the merchandise room and buy their first record.

We’ll definitely go back, but I’m not sure it will be in the cards for next year. We loved the festival and Angers. Cross it off your bucket list, too.

Keep your mind open.

At Le Quai, the fire extinguishers apparently spray siracha.

Keep your mind open.

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Levitation Music Festival Recap – Day Four: Old friends, new friends, old habits, new stains

We started the fourth day at the Levitation Music Festival with another tradition – the Sunday gospel brunch at Threadgill’s restaurant. It’s a pretty good deal, and the music always sound good. The band there this year was the Levites, and they were having a great time.

The first band we saw at the festival was Acid House Ragas, which consists of DJ Al Lover on synths and beats and can-we-call-him-a-friend-by-now? Rishi Dhir on sitar. They got the festival off to a nice start with meditative drone music.

We left Stubb’s to grab a bite at the Moonshine Cafe, which serves “southern comfort food.” Holy cow. That was some of the best blackened catfish I’ve had in a long time. After stuffing our bellies, we returned to Stubb’s in time to almost bump into Christian Bland of the Black Angels and Christian Bland and the Revelators. This was the fifth time I’ve met him, and I thanked him again for the festival. He and his bandmates help curate it, and I told him it was our fourth year there and we already had tickets for Levitation France in the fall. He thanked me and was excited to hear we were going to the fall festival. He’s always in a good mood whenever I bump into him.

We caught most of the set from the Brian Jonestown Massacre. My wife flipped out when she realized band member Joel Gion was “the tambourine guy from Gilmore Girls.” They put on a set to an always appreciative crowd, and frontman Anton Newcombe encouraged all of us to quit using pesticides in order to save bees. We also met up with James from Ancient River and his wife, Nakia, while there. We hadn’t seen them since 2014, and I hadn’t seen James since 2015 when he and his bandmate, Alex, played a gig in Ft. Wayne, Indiana. It was great to catch up with them and meet friends of theirs from England who were also at the show.

Mr. Newcombe later walked through the crowd during the Black Angels‘ set, shaking hands with yours truly and many other fans. The woman behind me gave him a big hug and her boyfriend also shook hands with him. It made that woman’s night. They talked about it for another ten minutes at least.

The Black Angels, as always, put on a great set. They started with “Young Men Dead,” their usual closer, and kept tearing it up from there. Lead guitarist Christian Bland shredded more than usual, and drummer Stephanie Bailey was once again an unstoppable beast.

We headed to Barracuda to catch synth-punks POW!. Unfortunately, we missed most of their set, but what we did hear was a fun and raucous. Their weird cover of the Addams Family theme was a nice treat.

Following them were Oh Sees, who I’ve been wanting to catch for years. James told me he’d seen them perform the previous night and said it was an impressive, high energy set. Sure enough, all the hype you’ve heard is true. A mosh pit broke out within the first four bars and I was soon in it. Various drinks were flying, people were crowd surfing, and my shoes were a stained, dirty mess by the end of it. It was a great way to end the festival on a high note and leave us with enough energy and hunger to grab a late night pizza slice on the way back to our car.

It was a nice return for Levitation Austin. The town, and the festival, needed a good comeback. Multiple people at the festival agreed with me that the vibe there is always good. You don’t see or meet a lot of jackasses at this festival, which is always a plus (but, good grief, why are people still smoking cigarettes in 2018, and especially in the middle of a crowd?).

See you in France this fall?

Keep your mind open.

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Levitation Music Festival Recap: Day Three – Shoegaze, synths, and psychedelia

The third day of Austin’s Levitation Music Festival was off to a good start when we bumped into Rishi Dhir of Elephant Stone and MIEN at a vegetarian breakfast cafe and then the Men at the same place. Mr. Dhir remembered seeing us at a small show in Pittsburgh and told us he and the other chaps in MIEN were a bit nervous about performing their first live show at Stubb’s BBQ that night. We told him we were sure they’d rock it. I also told Nick from the Men that they reminded me of the MC5, and he was a bit blown away by the compliment.

MIEN did indeed rock their first live show. We heard their soundcheck while dining at Stubb’s (Where, by the way, the best deal is the all-you-can-eat menu.) and we again saw Mr. Dhir not long before their set. We told him they sounded great, and they did during the full set. They played nearly their entire debut album and their nervous energy only seemed to benefit the set.

Local synth heroes (and Stranger Things score creators) SURVIVE were up next and put on a deep, creepy set that was longer than they expected. They kept thinking they were out of time, but they still had enough to play three more songs before they really were done. It was funny to see them look offstage and ask, learn they had plenty more time, and then grin as they tried to figure out what to play next.

Finishing up the night at Stubb’s were shoegaze legends Slowdive. I was late to their party, but got on board with their self-titled return album after nearly twenty years of no new music. There was a good-sized crowd there by this point and people went crazy for them. Many professed their love for singer / keyboardist / guitarist Rachel Goswell, who seemed humbled by all the love.

They nearly leveled the place with reverb, fuzz, and dreamy rock. My wife wasn’t sure to make of it. She later told me it nearly put her to sleep, which I suppose is one of the goals of such ethereal music.

We then moved over to the Empire Garage to hopefully catch the last half of No Joy‘s set, but alas they had finished by the time we got there. Dan Deacon already had a big crowd and was spinning up a wild dance party despite his laptop computer giving him fits and a vocal distortion pedal breaking. He had the audience building a tunnel with their arms above their heads and dance through it until his laptop computer crashed.

We left a bit early, and I later read on Twitter than Deacon smashed his laptop by the end of the show after it crashed yet again.

Up next, my wife freaks out upon seeing Joel Gion on stage, Rishi Dhir returns, and I get Red Bull dumped on me.

Keep your mind open.

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MIEN – self-titled

Consisting of members of the Black Angels (Alex Maas on guitar, bass, and vocals), the Earlies (John Lapham on synths), Elephant Stone (Rishi Dhir on sitar, bass, and vocals), and the Horrors (Tom Furse on synths), MIEN are a psychedelic supergroup who have been at least discussing their self-titled debut album since 2004. Now that it’s here, they (and we) can rejoice in a job well done.

Staring with the cosmic “Earth Moon,” Maas’ vocals are drenched in smoky reverb as he sings about how our beliefs can alter our reality. Where that track is a lovely stroll through a psychedelic meadow, the second cut, “Black Habit,” is downright creepy with Lapham and Furse’s synths providing a dark drone under Maas’ lyrics about addictions. “(I’m Tired of) Western Shouting” might be my favorite cut on the record. The drum beats are wicked, as are Maas’ lyrics about 24-hours news cycles, angry Internet rants, and people being proud to be rude or even bigoted. The whole band clicks on it, and it slays live.

“You Dreamt” layers on the synths and is pretty much a dark wave track (and a good one). The instrumental “Other” floats on Furse and Lapham’s synths and could’ve easily fit into the score for Blade Runner: 2049. “I feel so high,” Maas sings on “Hocus Pocus.” You might feel the same as it warps into distorted madness and heady freak-outs. Thee deep bass synths on “Ropes” fuel the urgency of Maas’ vocals about fear.

“Echolalia” is defined as mindless repetition of words or sentences as a symptom of a psychiatric disorder or as a repetition of words by a child learning to speak. Both definitions seem appropriate for the track of the same name, as it churns with an almost frantic energy and then comes to an abrupt start that surprises you. “Odessey” has brighter synths, and even female backing vocals, but they hide menace within them. The album ends with a reprise of “Earth Moon.” It’s a mellower version than the first and it creates a nice, dreamy ending to a mostly spooky record.

It’s a solid debut. MIEN are currently on their first live tour, so don’t miss them or this record.

Keep your mind open.

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Levitation Austin artist spotlight: Rishi Dhir

Primarily known for being the front man in Elephant Stone, Rishi Dhir is also now with the psych-rock outfit MIEN and has played bass and sitar for the Black Angels in the past. Dhir will be performing a solo set (probably all sitar) at Stubb’s BBQ on April 29th at 6:00pm at Levitation Austin. Don’t miss it. He’s a good joe and a heck of a sitar player.

Keep your mind open.

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Levitation Austin artist spotlight: MIEN

Psychedelic supergroup MIEN will be making their live debut at Levitation Austin this year (April 27th at Stubb’s BBQ starting 7:30pm). The band consists of members of the Black Angels, Elephant Stone, the Horrors, and the Earlies. Their set will surely be one of the highlights of the festival, so don’t miss it.

Keep your mind open.

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