The Black Angels

They synthesized their name from the title of a Velvet Underground song and a quote from Edvard Munch. Their iconography centers around a stylized image of Nico. Their live shows feature a projection artist dripping paint on strange combinations of random film clips. Do you see where this is headed? Maybe to the Bay area circa 1965 or perhaps Warhol’s basement?

It may be a good idea to go ahead and pass the Kool-Aid around whenever you decide to take the journey inside The Black Angel’s latest project, Directions to See a Ghost. Replete with eye-confusing orange and chartreuse cover art, the Austin sextet seem intent on fulfilling the mission started by their predecessors The 13th Floor Elevators over 40 years ago: creating sonically rich, beat and drone propelled psychedelic rock with dissonant muscle, drug-hazy attitude and enigmatic lyricism.

The critical reception for Directions to See a Ghost has been varied but generally on the positive end. Though William Rauscher and Mike Walker, writing for Prefix and Twisted Ear, respectively, both give the album a 9/10 rating, the former prematurely and overbearingly calls it “an early candidate for album of the year,” and the latter should brush up on his grammar, two errs that significantly undermine their analysis. A more accurate though appreciably less positive appraisal comes from Rob Webb at Drowned in Sound, who cites the impressive potential inherent in The Black Angels’ writing and musicianship, but derides their lack of consistent delivery and their apparent contentment in being a “one trick pony.”

Though shimmering praise is not in order for Directions to See a Ghost, it is an album that merits attention. “You on the Run,” the album’s opener, sets the tone for all of the subsequent tracks, creating a dense atmosphere of modified drones, fuzzy guitar and reverb heavy vocals. It’s a powerful album opener, and “Doves,” the follow-up, does well to enhance the mood “You on the Run” creates, in addition to perfectly setting up the shift to the sultry, beat driven “Science Killer,” the best track on the first half of the album. It’s on the next two tracks, “Mission District” and “18Years,” that the group starts to stumble. Neither song accomplishes much other than to slow down the pace while adding nothing new to the mix, leading to a miry, washed out feel. And it doesn’t help that the first easily discernible lyrics, found on “Mission District,” are also the album’s least interesting. Up next, though, is “Deer-Ree-Shee,” arguably the strongest single on Directions to See a Ghost; not only does it serve to complement dense psychedelia with a measured, down tempo beat, the addition of some impressive sitar handiwork completes the sixties’ feel with a quintessential maharishi underbelly.

The latter half of the album, unfortunately, collapses under the weight of its own bravado. “Never/Ever” and “Snake in the Grass,” in particular, find the band members aimlessly lost in their own addled reverie. Standing in excess of eight and sixteen minutes respectively, these two songs must be specifically designed for the dropper in all of us…and nothing else. Not that I disdain lengthy songs: I proudly proclaim the Grateful Dead as my favorite band of all time to anyone with the patience to listen to me rattle off obscure Garcia trivia for hours on end, but the Dead embodied a depth of knowledge and instrumental mastery to support their musical exploration. Additionally, the Dead generally saved their delving for the live format, as most of the studio work is more concisely composed, a trick that The Black Angels should consider adopting.

Overall: B-

Why a B-?  I try to focus on the positives. Though The Black Angels lack the visionary punch of an Anton Newcombe or a Lou Reed, they seem to have consummate ideas about what they want their music to sound like and they aren’t afraid to go for it. At best they produce stunning tracks like “Science Killer” and “Deer-Ree-Shee;” at worst they are still listenable, even when conveying a lethargic malaise through inconsequential repetition.