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A long era of dull ringing and nothing else in our ears is over. Once again, winds of warm guitar and humid thunderheads of bass and toms rumble all around. With Valdez, Birds of Maya are back in flight. And like the first song title explicitly states, this latest is a soaring blast of riffers, rife with punk rock abandon, sludge, treble, distortion, neck-throttling rock n roll solos, pummeling drums and bass and half-shouted/half-gargled vocals, all of it half on and half off the mic. For the good times as always, these Birds! That's how they've done it: fast and heavy, hard, live and loose, amid accumulating piles of empties, in appropriately informal environments since 2004ish, with their three LPs (on Holy Mountain, Richie and Little Big Chief) ripping us up whenever they drop. With each release, our thirst has increased, but to our horror, we haven't found any fresh feathers from their tree in the new release bins since 2013. Somewhere in Philadelphia, Jason Killinger, Ben Leaphart and Mike Polizze played on - preferably outside (the shows are always extra-good), but wherever, really. Recorded in 2014 at Black Dirt Studios in New York. Yeah: Birds of Maya packed up their shit, drove out of North Philly to a recording studio hundreds of miles away and made an album. Kinda nuts. And then didn't release it until...well, yeah - now! Time is a test that Birds of Maya recordings need to pass before they see the light of day. At the time this was recorded, Birds of Maya were standing on the other side of ten years kicking around town, suddenly far away from the primordial ooze they'd flopped forth from. The streets where all this had happened on were changing, with new money rolling in, but they were the same old Birds, content with their libations and ear-splitting variations on old favorite Stooges chords. The cover art of Valdez is a couple images from those days, glimpses at the old grass roots before they were ripped up by developers to build condos. But nothing ever really goes away, Valdez st...

The Black Angels' classic sophomore album
Pressed at RTI
Triple LP housed in a Stoughton tri-fold gatefold jacket
Originally released on April 15th, 2008

_'The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war,' Maas sings in 'Never/Ever.' 'They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders.' - *David Fricke, Rolling Stone*_

Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide _Directions On How To See A Ghost_.

If you're familiar with _Passover_, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it 'hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia.

While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words 'psychic information from the past and future.' See, The Black Angels really are in contact with ghosts.

'Civil War battlefields are prime spots for seeing ghosts,' says Bland. 'One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like 'retreat,' and I did. I later learned that the spot where I was on the battlefield was known as 'the dead angle', the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek.'

The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home.

The band released _Passover_ in 2006 to critical acclaim for both the album and the song 'The First Vietnamese War'. Most of all, _Passover_ established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album.

'Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes,' says Christian. 'Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with _Directions to See a Ghost_. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life.'

_'War is Peace.

Freedom is Slavery.

Ignorance is Strength.

Keep Music Evil.'_

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someda...

Erstauflage auf dunkelgrünem Vinyl! LOMA (Emily Cross, Dan Duszynski und Jonathan Meiburg) kehren mit "Don't Shy Away" zurück, ihrem unglaublich fesselnden neuen Album und dem Nachfolger ihres gefeierten, selbstbetitelten Debüts. Das elf Titel umfassende Werk wurde von der Band bei Dandysounds in Dripping Strings, Texas, produziert und aufgenommen - mit Ausnahme vom Song "Homing", der von Brian Eno produziert wurde. Nach dem Debüt-Album und der darauf folgenden Tour mit dem Höhepunkt íhres Auftrittes beim Sub Pop 30th Anniversary Festival in Seattle folgten einigen Monaten der Trennung. Ein zweites LOMA Album schien nicht in greifbarer Nähe doch dann änderte das Trio seine Meinung (auch aufgrund einiger ermutigenden Worten von Brian Eno) und traf sich erneut in Dan Duszynskis Haus im ländlichen Texas, wo sie begannen, Lieder zu entwickeln, die zu "Don't Shy Away" werden sollten. Meiburg vergleicht ihren Arbeits-Stil mit der Verwendung eines Ouija-Bretts und sagt, die Lieder hätten sich langsam, über viele Monate hinweg, offenbart. "Each of us is a very strong flavor," erklärt Meiburg, "but in LOMA, nobody wears the crown, so we have to trust each other-and we end up in places none of us would have gone on our own. I think we all wanted to experience that again."Das Album, das dabei herauskam, ist sanft und spektakulär - ein lebhaftes Werk, dessen leichte Berührung die zeitgemäßen Themen Einsamkeit, Vergänglichkeit und das Finden von Licht in tiefer Dunkelheit überlagert. "Don't Shy Away" ist durchzogen von Enthüllungen, sowohl freudig als auch nüchtern und windet sich von Moment zu Moment mit Selbstvertrauen und Humor. Wie bei LOMAs erstem Versuch gibt es ein greifbares und sinnliches Gefühl des Ortes; Insekten singen in den Bäumen, eine schlecht geölte Tür knarrt im Wind. Aber es gibt auch eine gewagte und hart erkämpfte Weisheit, die durch die wohlwollende Klarinette von Cross unterstrichen wird, die oft wie eine Erweiterung ihrer Singstimme klingt. Eine Reihe von Gästen wandert durch diese a...