It’s been 4 long years since we have seen Earthless surface with a new record - almost as long as their new LP, Night Parade Of One Hundred Demons - but it is well worth the journey through the night, or any time of day you decide to listen to it.
Last time out, Earthless took a sidestep from their usual improvisational writing technique and adopted a much more structured verse/chorus/verse approach and vocals with Black Heaven. It was refreshing to see the psychedelic three piece keep writing and carve out something new, even though their situation at the time somewhat restricted their ability to write the epic opuses they are better known for. With Isaiah Mitchell (guitar) moving back to San Diego in 2020 they returned to better known and trodden paths to tell their version of ‘Hyakki Yagyō’ translated to the title of this hour plus piece.
Folklore tells us of creatures marching through streets of Japan at night. Unfortunate people who did not hide from these demons would be spirited away. This is a fitting tale for Earthless to recreate aurally, having very much been inspired by Japanese psych bands since their formation. If you also take some time before and during to take in bassist Mike Eginton’s artwork, it will give you a foreboding sense of the journey this record will take you on. As he describes, “I like the idea of people hiding and being able to hear the madness but not see it.” And if you plant that seed of fear in your mind and listen to the next hour unfold on headphones in the dark, you may very much dread these monsters.
The first part of this two track, hour long record sets the scene for the night. Cymbals, plucked guitar strings and synths create an atmosphere of wind swirling and wind chimes gently ringing as the sun sets and darkness creeps in. A beautiful soaring guitar solo wishes farewell to any light as the mood swiftly changes. A devilish marching riff kicks in, easing out into soaring guitar section backed by pounding drums and rhythmic bass lines. Classic Earthless psychedelia, a sound fitting for the tale which can easily transport listeners’ thoughts elsewhere. Fans of their previous work or anyone who enjoys the likes of Yawning Man or Nebula will appreciate how on the surface a 20-minute opening track could seem excessive, but once your ear picks up on a layer within you will happily stay for the ride into the early hours. Looping back around into the thunderous march of the otherworldly spirits, additional layers of guitars intertwine and attack from all angles. The ebbs and flows create a terrific atmosphere as the reins start to pull harder and slow to a cantering tempo into Part 2.
Thuds of toms and kick drum accompanied by the abrupt bass and ghostly echoes of midnight air lead Earthless into battle the second act. Once again you walk along the back streets with ominous sounding guitars and additional sounds. The drums again used masterfully to set a growing tempo and volume, stomping away underneath a crescendo of guitars panning from left to right and all the way back again and rumbling bass underpinning the piece. We are led into the last few minutes with battling guitar parts. The thematic riff that has reared its evil head throughout fighting a triumphant battle cry ends in a cacophony of noise and what sounds like the devil’s spirit groaning, then nothing but one final sound. The long night is over and what a musical journey it has been.
After dusting down to what you believe is the end the closer ‘Death To The Red Sun’ kicks in. The title of the track potentially being a reference to the negative connotations and use of the rising sun flag in the modern day. The thunderous trio steam through at an ever-increasing pace. The epitome of what makes Earthless top of the psych-rock game. Riffs that have gut feeling turns and improvisation at the right moments building to a euphoric drum roll and roar as they groove through the final minutes.
This all sounds ostentatious, but Earthless have never been nor will be that. You want to hear unbridled joy through the fingers of a bassist, the pick and whammy bar of a guitarist and the primordial beating of drums? It is here in spades. An hour may seem long, but once you are locked in this becomes a truly rewarding listen.