Black Mountain’s latest record thickens up its mustache and heads to puberty for an ode to newly minted freedom in the form of a driver’s license and a set of keys (rabbit’s foot not included). The album is named after the ’85 Dodge Destroyer that songwriter Stephen McBean’s been fixing up in the wake of his late life adoption of driving following a lifetime spent away from the wheel. It’s a paean to the open road, to the sort of symbiosis between man and machine that apparently forms when the engine’s revved and the paint is lacquered on the right shade of performance orange. Coupled with a lineup change that folds in new and returning members and an adoption of the crux between prog’s dirt weed swan song and the rise of metal’s caveman party pound, the album gives Black Mountain a good shake around the foundations.
Now I’m probably not the one to go pining for automobile anthems. Despite living among the scenic views of NY’s weekend escape route of choice, I still see cars as somewhat of a necessary evil. This is heresy as someone born in the shadow of Ford’s stomping grounds as well, but I’d just as soon hop a subway if it were always a choice. I drive a Civic, and it the motor rumbles the way that McBean’s pining for, I’d damn well get it checked. But I certainly understand the notion of needing cars to escape, to get freedom. Small town roots always leave the scar of tire tracks on your back as the only way to get some air of your own. Even if the smell of exhaust doesn’t boil your blood, there’s a sense of anticipation in getting a moment to oneself without anything but gas money holding you back.
Lyrical theme aside, the band is nailing the new direction that coincides with the troubled teen trappings they’ve employed here. There’s dirt under their nails from scratching Deep Purple into the back row of desks. There’s just the right amount of tatter on the cuffs of their denim jacket and this thing hasn’t washed its hair for a good four days. As much as the album evokes the love of the car, its also a love letter to the car as listening experience, which is actually something I can get behind. They’ve stuffed Destroyer full of the kind of anthems that rattle the windows while hotboxed teens park in the back lot. They find the sweet spot between volume and spaced synths that pair well with lying on the hood staring at the stars and wishing away the last year of high school so that you can finally be free of this damn town. They’ve created an album that sums up the center line metronome that taps along to the tempo. As much as the album is about that rumble beneath the pedal, its about giving a finger to authority, and that’s something we can all get behind.
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