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12 Jul 2017

Here Lies Man"Here Lies Man" 2017 US Afrobeat,Psych,Stoner,Afrorock







Here Lies Man  "Here Lies Man"  2017 US Afrobeat,Psych,Stoner,Afrorock

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What if Black Sabbath played Afrobeat? In short, that’s the underlying vibe to the self-titled debut by Here Lies Man. The L.A. based quintet is founded and conceptualized by Marcos Garcia of Antibalas, bringing his erudite experience of West African rhythms and music to the more riff-based foundations of heavy rock. The results are an incredibly catchy and refreshing twist on classic forms, without sounding forced and trite like some sort of mash-up attempt. Here Lies Man merges and expands musical traditions organically, utilizing the talents of drummer Geoff Mann (son of jazz musician Herbie Mann) and a host of skilled musicians to make Garcia’s vision a reality.
“The repetitive guitar figures that happen in Afrobeat music are
​very close to heavy rock guitar riffs,” Garcia explains. “​This music is based on the clave. It’s the musical algorithm that the rhythms revolve around. ​It’s what gives it integrity and ​provides the basis for the musical conversation ​that’s happening. I knew I wanted it to be psychedelic and heavy, and I wanted to be expanding on a musical tradition ​rather ​than pretending to be creating something new.”
And that expansion is the brilliant, hazy, psychedelic, hook-laden 8-song masterwork Here Lies Man, available on LP, CD and download on April 7th, 2017 via RidingEasy Records....~

Los Angeles heavy-psych-gone-Afrobeat outfit Here Lies Man will issue their self-titled debut next week through RidingEasy Records. Preorders are up now ahead of an April 7 release date. I think even the band would probably have to admit that not everyone who hears the album is going to get it, but even if that’s so, for those who do, the eight-track offering is bound to be taken as a treasure. Amid a seemingly endless slew of traditionalism in underground rock, Here Lies Man — the fuzz-‘n’-funked-up brainchild of Antibalas guitarist/vocalist Marcos J. Garcia — tread a different path. Garcia, whose affinity for Ethiopian psychedelic rock and particularly the work of Fela Kuti in defining Afrobeat comes through in the resonant percussiveness of cuts like “You Ain’t Goin’ Nowhere,” the instrumental “Belt of the Sun” and the repetitions throughout “When I Come To,” the closing title-track and so on, spearheads the conceptualist outing, but the vibe across the record’s entire span is one of pure rhythmic celebration. Here Lies Man sound more like a festival than a band, and yeah, not everyone’s gonna get that, but those who do will find it impossible not to be swept up by their multi-tiered pulsations.
Among the album’s many hooks is that of its concept. It’s the first question the PR wire asked in sending notification of the record, and you can see it below: What if Black Sabbath played here lies man self titledAfrobeat? If your answer for the question isn’t, “Well, that would be fucking awesome,” then you can probably count yourself among the “not gonna get it” above, but as a thematic foundation for the sonic territory that Here Lies Man are exploring, it’s a question as appropriate as it is evocative. But neither is it the sum total of what the record winds up offering. Because if Black Sabbath played Afrobeat, it would be riffs and percussion. Fine. Here Lies Man expand beyond this in the proclamations of “I Stand Alone” and the swaggering ultrafunk of “Letting Go.” It’s not just about bringing two seemingly disparate components together in a sonic collider — it’s about the new molecules discovered as a result of that and how those can be manipulated into something genuinely individual. Much to Here Lies Man‘s credit — and the credit of their experience as players and songwriters; because while it’s a new project it’s not necessarily a new band — they bring their debut to that high standard and flesh out something bold from the pieces of its creation, finding a whole from the sum of its parts that’s brightly colored and brimming with a vitality of expression and swirl all its own. Their starting point may be that central question, but where they end up is a different wavelength altogether.
And they’re better for it. Certainly the approach makes them an outlier among the more traditional forms of heavy proffered by RidingEasy acts like Monolord, Electric Citizen or Slow Season, but that’s obviously the point, and the progressive aspects of Here Lies Man‘s approach are writ large over the commitment to aesthetic that the band shows throughout. Seems like more than it would be reasonably fair to ask of a debut album, and yet the songs not only realize this multifaceted sonic persona, they set it up for future development should Garcia and his cohorts choose such pursuit. One hopes they do.

Today I’ve got the pleasure of hosting the premiere of “Here Lies Man” from Here Lies Man‘s Here Lies Man. As you might expect, it sums up a lot of what they’re going for in terms of sound and their overall take, and if you want to know just what the hell I’m talking about in the above ramblings, it’s all right there......~

If underground heavy music has one flaw, it’s that it seldom compels anyone to dance. Here Lies Man are hellbent on altering that, albeit in a manner that will be more than familiar to fans of Goat. The formula is simple: loping, Afro-funk beats that recall Fela Kuti and huge, turbo-fuzz riffs redolent enough of Sabbath to lure in a few rivetheads to scare the hipsters who will inevitably embrace this. Fortunately, Here Lies Man is enormously enjoyable. There’s something wonderfully boneheaded about the shuffling grooves, the surging, overdriven basslines and the thick wads of psychedelic ambience that ooze through chinks in the band’s percussive armour. Like Funkadelic at their early 70s heavy zenith or the darker works of post-punk pioneers The Pop Group, songs like I Stand Alone and Letting Go are all squalling, liberated swagger and red-eyed priapic intensity: dancefloor fillers for the black of heart. Whether there’s anything lurking beneath the surface is another matter, but it’s refreshing to hear distorted guitars used to vent rampant, midhallucination libido........~

Credits
Congas, Percussion – Richard Panta
Drums, Percussion – Geoff Mann (2)
Guitar, Bass, Keyboards, Vocals – Marcos Garcia

Tracklist
1 Interlude 1 1:34
2 When I Come To 4:55
3 I Stand Alone 4:32
4 Eyes Of The Law 4:11
5 You Ain't Goin' Nowhere 4:10
6 Letting Go 6:08
7 So Far Away 3:22
8 Belt Of The Sun 5:01
9 Here Lies Man 5:53 

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