The Myrrors 
In the making since 2018’s Borderlands, the new album from Southwestern seekers The Myrrors more than makes good on years of anticipation. Though an interim comp of previously released tracks and split 7” singles rounded up for Feeding Tube a few years ago may have sated the gap in new material, Land Back feels like a truly thunderous return for the band. The group’s previous albums wielded their politics in titles and turbulence, but the invective is upfront this time around, with their anti-colonialist anthem and title track feeling more necessary than ever as the world watches in real time the hunger of unchecked regimes. The band offers up a searing centerpiece, a rallying cry that’s full of not only the band’s usual dose of tension, but a lit match of anger that lobs itself at the speakers with a newfound fury. The fact that the songs here were laid down in a 2021 session, just now seeing light, feeds into the infuriating cries at the heart of the album. Nothing has changed in the years since. The words were true then and they’ve only dug deeper into the skin since.
As the album opens up, The Myrrors don’t leave the instrumental tumult behind either; in fact they deepen it, pinning the anger and anxiety to torn landscapes of jazz, noise, trance, and psychedelia. The disorienting, pounding rhythms of “Bakú a Bandung” come at the listener from all sides, before the album slips into the stunning closer, “The Wretched of the Earth.” Both make ample use of Beyschau’s saxophone, lacerating the listener with bloodstained bleats. In the past the band has etched its elemental ache into the rock of their desert surroundings, but there’s a much wider scope to Land Back. It’s still furrowed with the desperation of long shadows and unrelenting suns, but the drought is a spiritual one, a landscape of imperial indifference that’s stretched as far as the horizons can expand. Capital doesn’t spare an inch in its grinding of our cultural grist, and The Myrrors have given shape to the barriers against the boot.
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