Here lies Man

You Will Know Noth­ing

Classic Rock - - Albums - Stephen dal­ton

New York post-rock­ers blend Sab­bath-sized riffs with AfroCuban grooves.

Fea­tur­ing cur­rent and for­mer mem­bers of An­tibalas, the Brook­lyn‑based Afrobeat col­lec­tive modelled on Fela Kuti’s fa­bled Africa 70 band, Here Lies Man serve up an am­bi­tiously rich stew of fuzzed‑ up ana­logue me­tal, funky psych‑ rock and trop­i­cal rhythms. Be­hind their ki­netic, mus­cu­lar grooves lies a set of math­e­mat­i­cal al­go­rithms known as ‘the clave’, a guid­ing prin­ci­ple in Afro‑Cuban mu­sic. Black Sab­bath was the ob­vi­ous go‑to com­par­i­son for the group’s de­but al­bum last year, but You Will Know Noth­ing ex­pands their range into more ex­otic, es­o­teric, post‑rock ter­rain.

There are still plenty of Sab­bath‑oid touches here, no­tably the riff‑heavy slam­mers Blind­ness and An­i­mal Noises.

But Here Lies Man are more in­ter­est­ing when they bend and twist their retro in­flu­ences into richer, stranger shapes, as on That Much Closer To Noth­ing, which moves from a slow prowl to a gnarly prog‑me­tal beast bristling with mar­tial beats, ly­ser­gic in­can­ta­tions and dis­cor­dant key­board fan­fares.

Or You Ought To Know, a wist­ful in­stru­men­tal fash­ioned from a sim­ple melodic chime mo­tif and a chunky rock‑steady beat that grad­u­ally builds into a hazy Floyd‑meets‑Hen­drix reverie.

A spicy, heady, mostly sat­is­fy­ing brew.

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