Pink Mountaintops

Pink Mountaintops

White Hills, Call Of The Wild

Tue, July 8, 2014

Doors: 8:00 pm / Show: 8:30 pm

Rough Trade NYC

Brooklyn, NY



This event is 21 and over

This show has been cancelled. Refunds are available at point of purchase.

Pink Mountaintops
Pink Mountaintops
It's doubtful that Stephen McBean set out to make The Great Rock 'N' Roll Primer when he started conjuring the songs that would come to be Pink Mountaintops' Get Back.

The record's beginnings were reasonably straightforward: McBean had moved to Los Angeles, taken a long hiatus from Black Mountain and an even longer one from Pink Mountaintops when he met producer Joe Cardamone, lead singer of Icarus Line at Valley Recording Company in Burbank, CA. The two bonded quickly over Flying Nun bands, Television Personalities, Roxy Music, Johnny Thunders, and Born Against. Joe was excited to meet someone he actually liked. Stephen was excited to work with someone who said "Sing it like you would've sung it when you were 21." Simple enough, right?

But ask him to set the scene and you'll hear about a motorcycle shop owned by Michael Barragan, former member of Los Angeles noise rock band Plexi. You'll hear about an endless supply of rock 'n' roll video documentation for last minute inspiration or deevolution in the living room. Ask who's on the record and you'll get a constellation of greats: J Mascis (Dinosaur Jr & Witch), Rob Barbato (Darker My Love, The Fall & Cass McCombs), Steve Kille (Dead Meadow), Daniel Allaire (Brian Jonestown Massacre, Cass McCombs & Darker My Love), Annie Hardy (Giant Drag), Jon Wahl (Clawhammer), and Gregg Foreman (Cat Power & Delta 72). Randal Dunn (SunnO))), Earth, Sun City Girls, Boris) mixed Get Back at Avast! Studios (Bikini Kill, Mudhoney, Christ On A Crutch, Soundgarden) in Seattle. Howie Weinburg (Nirvana, Beastie Boys, Danzig, Ramones, Slayer) mastered it in Laurel Canyon.

Ask about the record itself and McBean will tell you about "Alleys, curbs, walls, and cigarette stained gig flyers. An island on the Pacific coast. Fake British towns. Slayer posters. The beauty of youth. It's about listening to Driver's Seat and 'Guns of Brixton' and hotboxing The Duster." And suddenly it becomes clear: when the aliens do touch down and they don't know rock 'n' roll, you can play them Get Back start to finish, and that'll be all they need.

Get Back comes out swinging with "Ambulance City," a head-trip of a song with a chugging, insistent, oddly timeless guitar riff sitting front and center. "The Second Summer of Love" needs almost no explanation; it dives into 80s VHS saturation and never comes up for air. "Sell Your Soul" is a deep sigh and a motorcycle ride, a roll in the grass lamenting summertime blues with a little grit and a little harmony. And "North Hollywood Microwaves" is downright obscene. But what better way to start Side B than this? You can listen at hushed volumes so your parents don't hear, you can crank it in a dorm room, you can smirk to yourself from the safety of rock 'n' roll's old age. You start to wonder - why don't all Side Bs start with a song like this one...

The number of platitudes in music hit critical mass years ago, and among those tropes is that annoying, inescapable mantra: rock 'n' roll is undefinable. And yeah, sure, that's true. It's different things to different people. It starts with guitars, maybe, and ends with a stage-dive, or spit, or feedback. Rock 'n' roll is drugs, is rebellion, is youth, is sex, is cosmic. It's wanting more than you have. Rock 'n' roll is butts and cigarette butts. And Pink Mountaintops might not be the best-known band ever to make rock 'n' roll, but in Get Back they just might have written its scripture -- an exploration and celebration of what, exactly, rock 'n' roll can be.
White Hills
White Hills
A label like "space-rock" deserves music that's as nuanced and limitless-feeling as space, and space-rock deserves a band like White Hills. Not only do they add urgency to familiar psychedelic rock templates, but they pay just as close attention to the quiet moments as the raging ones-- each track on their self-titled Thrill Jockey debut displays a careful layering of sounds and atmospheres.-Pitchfork

White Hills have shaken up the space-rock box, and shown that the patterns you can make therein are as infinite as the stars.-The Quietus

If only it had more than two members — White Hills and fellow travellers Oneida — we could cite a Brooklyn space-rock movement, raising the 1970s sonic sublime. Nonetheless, here’s an arch retooling of Hawkwind’s speed-freak psychedelia, those relentless motorised grooves and fuzzy tsunamis of sound shaped and shifted and stretched to breaking point by sassy New Yorkers. Let the Right One In even dares 13 pastoral minutes in the vein of early Pink Floyd, while We Will Rise’s pendulous emptiness echoes the Stooges’ cavernous We Will Fall. White Hills dumb down determinedly to discover their inner ape, and nibble the fringes of greatness.-The London Sunday Times

Like wandering in a dense and druggy fog, White Hills’ self-titled album is like a stoner rock beacon, hypnotically guiding the listener with layer upon layer of fuzz and reverb to some unknown

A real contender for psych-rock single of the year, this 7" finds two of today's foremost acts in the field (White Hills and Acid Mothers Temple & The Cosmic Inferno) taking on classic Hawkwind material. 'Brainstorm' is ravaged by AMT, who thrash out in fine style with an expanded arsenal of swooping oscillators and spooky theremin-style pitchshifting. It's an absolute riot, but White Hills prove themselves to be more than a match, tearing 'Be Yourself' a new one (to coin a phrase) laying on the fuzz by the barrow-load, cutting through the fudge with some class-A shred and all-round soloing majesty. Oof...-Bookmat

Heads On Fire throws down grungy distorted layers of sludge that relentlessly churn along. It's neither subtle nor pretty, but god damn it rocks. They take the space rock template and inject it with a battered fucked-up New York punk spirit. -Drowned In Sound

White Hills is turning out to be quite the surprise of the year. After killing earlier in the year with Glitter Glamour Atrocity and releasing a comparable tour CD, the band has fired back again with the UK release of Heads on Fire. The latest release is just as much of a pummeling psych juggernaut as the rest; merging the Hawkwind style space jams with a tight groove of blistery guitars and trembling bass. The band are waving the Space Rock banner high and proud which has already garnered them support from legends in the field such as Julian Cope, for whom they've opened in the UK. The latest album, despite the relentless output this year shows no trace of being leftovers, but instead another album full of thick plumes of ash and turbulent waves of cosmic radiation. The band thrive in making the calm moments exceedingly liquid while still having a knack for fierce waves of noise ridden psych that leaves the space behind and burns like the earth's core. Given the band's current direction I fully expect to see great things from them in the future. -Raven Sings The Blues

'Heads on Fire' left me completely satiated, having taken me places I'd never expected to go. It's wonderful to discover a band who so wholeheartedly embrace the past without ever letting it constrain their vision for the future. I look forward to hearing more. -Nine Hertz

Their previous release,Glitter Glamour Atrocity, found the band experimenting around with a number of different styles from ambient to Krautrock to Spacemen 3 influenced rock, but on their latest outing, White Hills jettisons the experiments to totally consume themselves in balls to the wall, and yep, "heads on fire" total space rock. It's something like Hawkwind on steroids, with pounding drums and throbbing, catchy bass lines, whooshing space synths, barely heard mantra-like vocals, and of course, oodles and oodles of heavy, crushing, effects-laden guitars. -Aural Innovations

Space Rock fans should waste no time getting this album (HEADS ON FIRE). Farflung fans will LOVE this, as will anyone who digs the balls out space metallic jams of early Hawkwind. And solid production has helped White Hills create a MASSIVE sound that will knock you about like some cosmic sledgehammer. Highest recommendation -Roadburn
Call Of The Wild
Call Of The Wild
Venue Information:
Rough Trade NYC
64 N 9th St
Brooklyn, NY, 11249