It draws a parallel from Trump’s wall directly to the Berlin Wall, history repeating, lessons not learned. It brings into sharp focus the way we are divided by those who rule, a direct attack on the misguided blind march into fascism. The Spanish titles continue with probably the most politically-focused song on the album, La Pared (Govt. “Watch it all slip away or leave a garden for your kids to play.” Is it even a good idea?” That fear seeps through further on returning with The Black Angels, whether a collective awakening can rectify the path we are on. As he said when we spoke to him two years ago when he released his solo album, named after his newborn son Luca, “A lot of these songs are based around the idea of what it’s like to be a parent right now, what it’s like to bring a child into the world right now, and the fears and everything that goes into that. It’s a preoccupation that has naturally grown since the birth of Alex Maas’ son.
The song shakes you to the bones with its pounding rhythm, lamenting the chances not taken to create a world for future generations. There is no promised land, only two choices, a scorched Earth or a drowned world. It looks not at where we are, but where we are heading. The album’s lead single, El Jardín (The Garden), is an early highlight. “You can be the one who saves yourself / Or you can watch it all go to hell.” – a reflection on exactly where we are, the dire consequences that we face.
“Empires falling / It’s history on repeat / Our nations’ pleading from street to bloody street.” It’s a baleful blast that ends with a rallying cry for combined action. Although guitarist Christian Bland has said that they leave their music open to interpretation, this time they are spelling it out.
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We need commanders who don’t feed disaster.” There is a fire ready to burn within the heart of the band, the embers are still glowing, sparks flickering, ready to ignite in an inferno and burn the modern horrorshow to ashes.īy just the third track, Empires Falling, their manifesto is laid bare in full and reflects the world that surrounded them as the band were working on the album. “Is it possible to be invincible when everyone else is expendable?” he asks, seemingly calling us out for our own narrow-minded egotism, before reminding us that “If it’s so, we will take control. The guitar flicks and whips as the sparse drums crack, Alex Maas’ voice luring us out of a walking slumber to face the onslaught from above. “So, is it possible to feed the starlet and feed the starving? / If it’s so, we’re invincible / We’ll be alarming / We’ll be an army.” The song builds on a fuzz-dense bassline that rumbles, the flames burning from within. They know the push and pull of the world around us and that, to confront and take down a system that binds us, we must come together. Now is the time to face up to the world we have built, the walls we have had built around us, the divisions sown between us, and fight.įrom the very beginning of the album, on recent single Without A Trace, the band know this. There is no hiding from the horrors that surround us and, if we attempt to, the spiral to our own demise will descend with ever-increasing speed. On album number six, the Texan psych-rockers are bringing the mirror as close as possible, reflecting a broken world back, straight, deep and targeted into our consciousness. The Black Angels are not one of those bands. Wilderness Of Mirrors is not one of those albums. There are moments when we look for music to escape from the revolving doorway in and out of a world burning while we stare blankly into a near future where we must choose between freezing or starving. Texan psych-rockers The Black Angels return for album number six, a bleak and dark exploration of a world going to hell, yet one still worth fighting for.
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