Lightning Bolt: Hypermagic Mountain

Kevin Jagernauth

Rhode Island's most notorious drum and bass duo climb to the peak of prog-noise-rock perfection.

Lightning Bolt

Hypermagic Mountain

Label: Load
US Release Date: 2005-10-18
UK Release Date: Available as import
Amazon affiliate

"There's definitely a bigger audience now. Our initial audience was our friends, and it grew to our friends and people in other cities who could have been our friends who we didn't really know yet, and now it's grown to all those other people. Not to insult our audience. It seems like one of the most exciting things about playing music is you're almost introducing yourself to people, like a big loud, 'Hello, this is who I am.'"
-- Brian Chippendale, Wire, Issue 262, December 2005

It's kind of surprising that in the wake of the hip-hop explosion and pop phenomenon, the newest buzzworthy sound seems to be the metal and noise scenes. Perhaps for people tired of artificial pop stars and hip-hop's often insincere swagger, there is something attractive about primal, uncensored, full volume, throat-shredding abandon. There is a strange comfort when media like the New York Times reporting on the underground metal explosion, and labels such as Sub Pop are supporting extreme acts like Wolf Eyes.

It would be naïve though, to view Lightning Bolt as just another band thrashing at full volume. The duo of Brians (Chippendale and Gibson) are accomplished artists, and each Lightning Bolt release is also a display of their visual fury. Hypermagic Mountain is certainly no different. The cover art features thick, Crayola-saturated colors, multiple curious-looking figures, landscapes, inanimate objects, and random words all mixed into an impenetrable stew. But once you put the disc in, it becomes quickly apparent that no other illustrations could come close to capturing the madness the album contains.

For anyone familiar with Lightning Bolt's aesthetics, Hypermagic Mountain certainly doesn't deviate from the band's usual progressive metal format. But what will surprise and delight fans is the group's ability to sound even fiercer than they ever have before. Recorded over three weeks and captured live to two track tape, Hypermagic Mountain sounds positively Olympian. With the help of longtime producer Dave Auchenbach, the band manages to squeeze an ungodly amount of sound into a limited space.

When the album kicks off with "2 Morro Morro Land", Gibson and Chippendale unleash enough riffs and skin pounding rhythms for a band three times their size. Perhaps even more amazing than Gibson's surprisingly diverse riffing (that can sound both like a guitar and a bass) is Chippendale's brainmelting, heat-seeking drumming. Precise, yet somehow effortless, he gets the pulse of the disc racing and pretty much doesn't let up. The album's first songs are four, three-minute nuggets of awe-inspiring bass, drums, and alien radio voices. The ambient sounds of the beginning "Megaghost" -- that kick off the album's middle section -- offer a brief moment of breathing space before the band kicks right back into high gear again.

"Magic Mountain", the disc's quasi title track, is a forever-building piece of sonic sludge. "Dead Cowboy" is the band's anti-Bush track, but without the lyric booklet nearby you'd never have any idea. You'd be too busy enjoying the track's astonishing structure as it moves easily from serpentine licks to ear crumbling blasts of rhythm to sheets of white noise. "Bizarro Zarro Land" closes the middle of the disc with Lightning Bolt's approximation of Eddie Van Halen's "Eruption", that begins with some astonishing fretwork that later becomes a righteous stoner jam before igniting again in a final display of finger-burning riff work.

The band save their most experimental tracks to help close out the album. "Infinity Farm" is nearly three minutes of tone exercises that slowly build into crescendos of noise that introduce the final track: "No Rest for the Obsessed". But Lightning Bolt have the last laugh. Just when you think the album will end on a downer, they offer one final delicious spurt of bass and drum heaven.

At nearly an hour, Hypermagic Mountain can be somewhat overwhelming in one sitting, and is best taken in small doses. But this is a minor quibble, as even at half its length, Lightning Bolt's output would still rank them among the top bands of the noise scene, while still having more than enough to uncover on repeat listenings. With just enough experimentation to hint at new and future directions, while seamlessly blending improvisation and smartly conceived songs, Hypermagic Mountain is Lightning Bolt's finest achievement to date. And for first time listeners, Lightning Bolt's fourth album will be one hell of a 'hello'.





The Top 20 Punk Protest Songs for July 4th

As punk music history verifies, American citizenry are not all shiny, happy people. These 20 songs reflect the other side of patriotism -- free speech brandished by the brave and uncouth.


90 Years on 'Olivia' Remains a Classic of Lesbian Literature

It's good that we have our happy LGBTQ stories today, but it's also important to appreciate and understand the daunting depths of feeling that a love repressed can produce. In Dorothy Strachey's case, it produced the masterful Olivia.


Indie Rocker Alpha Cat Presents 'Live at Vox Pop' (album stream)

A raw live set from Brooklyn in the summer of 2005 found Alpha Cat returning to the stage after personal tumult. Sales benefit organizations seeking to end discrimination toward those seeking help with mental health issues.

Love in the Time of Coronavirus

‘The Avengers’ Offer a Lesson for Our Time of COVID-19

Whereas the heroes in Avengers: Endgame stew for five years, our grief has barely taken us to the after-credit sequence. Someone page Captain Marvel, please.


Between the Grooves of Nirvana's 'Nevermind'

Our writers undertake a track-by-track analysis of the most celebrated album of the 1990s: Nirvana's Nevermind. From the surprise hit that brought grunge to the masses, to the hidden cacophonous noise-fest that may not even be on your copy of the record, it's all here.


Deeper Graves Arrives via 'Open Roads' (album stream)

Chrome Waves, ex-Nachtmystium man Jeff Wilson offers up solo debut, Open Roads, featuring dark and remarkable sounds in tune with Sisters of Mercy and Bauhaus.

Featured: Top of Home Page

The 50 Best Albums of 2020 So Far

Even in the coronavirus-shortened record release schedule of 2020, the year has offered a mountainous feast of sublime music. The 50 best albums of 2020 so far are an eclectic and increasingly "woke" bunch.


First Tragedy, Then Farce, Then What?

Riffing off Marx's riff on Hegel on history, art historian and critic Hal Foster contemplates political culture and cultural politics in the age of Donald Trump in What Comes After Farce?


HAIM Create Their Best Album with 'Women in Music Pt. III'

On Women in Music Pt. III, HAIM are done pretending and ready to be themselves. By learning to embrace the power in their weakest points, the group have created their best work to date.


Amnesia Scanner's 'Tearless' Aesthetically Maps the Failing Anthropocene

Amnesia Scanner's Tearless aesthetically maps the failing Anthropocene through its globally connected features and experimental mesh of deconstructed club, reggaeton, and metalcore.


How Lasting Is the Legacy of the Live 8 Charity Concert?

A voyage to the bottom of a T-shirt drawer prompts a look back at a major event in the history of celebrity charity concerts, 2005's Live 8, Philadelphia.


Jessie Ware Embraces Her Club Culture Roots on Rapturous 'What's Your Pleasure?'

British diva Jessie Ware cooks up a glittery collection of hedonistic disco tracks and delivers one of the year's best records with What's Your Pleasure.

Collapse Expand Reviews

Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.