Dommengang

With 2015's Everybody Boogie, Brooklyn power trio Dommengang picked up the driving rock gauntlet thrown down by contemporaries such as Endless Boogie, White Hills, Earthless, and more. Every track was a jam wrapped in sludgy, post-psych blues grooves. In the interim between it and 2018's Love Jail, the trio relocated to Los Angeles; the geographical change deeply influenced their sound. They worked in the desert for a week with engineer Tim Green of the Fucking Champs (Joanna Newsom, Howlin' Rain), who carved an analog sense of space into the mix that reflected Dommengang's love of vintage '70s hard rock recordings.

On No Keys, Dommengang channel the wailing, psych-rock abandon of their previous work into a lean, dark-edged record colored by loss, change, and the sheer force of growing musicianship. Guitarist Dan “Sig” Wilson, bassist Brian Markham, and drummer Adam Bulgasem have grown closer even as they live and travel ever-further apart, and No Keys captures the raw energy of their moments together, with wailing, improvised blues-rock as unrelenting as it can be tender.

On No Keys, Dommengang channel the wailing, psych-rock abandon of their previous work into a lean, dark-edged record colored by loss, change, and the sheer force of growing musicianship. Guitarist Dan “Sig” Wilson, bassist Brian Markham, and drummer Adam Bulgasem have grown closer even as they live and travel ever-further apart, and No Keys captures the raw energy of their moments together, with wailing, improvised blues-rock as unrelenting as it can be tender.

Dommengang, guitarist Dan Sig Wilson, bassist Brian Markham, and drummer Adam Bulgasem, recorded their sophomore album Love Jail shortly after relocating to Los Angeles. It was not just a coast shift for two of the members, but the first time the band were together in one city. The sophomore album reflects the openness of their new surroundings as well as the energy and experience of being reunited and playing together in the same place.

The Canadian heavy-psych group's fifth studio long-player and the follow-up to 2016's IV, Destroyer is Black Mountain's tightest, gnarliest, and least sprawling outing to date. Clocking in at just over 40 minutes, the eight-track set commences with the assured "Future Shade," a guitarmony-heavy nitro-burning dragster of a jam that channels British Steel-era Judas Priest by way of Fu Manchu.