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Wilderness Heart, the new album by Black Mountain, is jammed with succinct rock songs that throb and hammer with startling precision: it pummels you and you ask for more. This is arguably the band's tightest, most concentrated venture, but there's still enough of raw rock energy at work. "It's our most metal and most folk oriented record so far," McBean says.

"I'm not gonna say it's our best record or the album that we always dreamt of making 'cause that's what everyone says. It's all about where we were at the sentence the machines were rolling. You can't see the electricity or how your limbs were moving that day. You give to delete the visions and simply go on for the ride." A slight over a twelvemonth later releasing In the Future, their critically and commercially celebrated sophomore effort, Black Mountain started building Wilderness Heart on the west coast of America. With Randall Dunn at the helm (Sunn O), Boris), London Bridge Studios in Seattle saw a portion of the construction with songs "Old Fangs," "Let Spirits Ride," and title track "Wilderness Heart" among others. The prevalence of transcription was held with D. Sardy in Los Angeles at Sunset Sound, which has captured tracks from The Doors, Ringo Starr, the Rolling Stones, and more. L.A. - with its tacos and sunsets, starlets and hills and post-Deco kitsch - was a considerable inspiration. "Just being under the shape of one's surroundings, as we were while recording in L.A. had a terrific impact on the operation and the way we play. Consequently, the L.A. sessions have a free and summery vibe. The Seattle sessions, made in the grey, rainy environs that we're exploited to up there, have a chillier, more claustrophobic feeling," Wells explains. "It's a Black Mountain pop record, which is to say it's nothing like pop at all. This was the fastest record we've ever made. We're exploited to spending a lot of time deliberating over the songs and spacing out recording sessions over years. Start to finish, this album was made in 4 months, which is something like a miracle for us. We've never worked with producers before and that was a challenge; for us to let go and let two outsiders into the process, D. Sardy and Randall Dunn - it took some growing for us to be truly open, but this album is all the best for it." The band cites a mass of disparate influences: New Order, King Crimson, Studio 54, Alex Chilton, sunshine, Janis Joplin, Please Kill Me, Shirley Collins, Mickey Newbury, jalapeo salsa, Night of The Hunter, Cactus Taqueria, Funky 16Corners podcasts, Dennis Wilson, the house blowing up in the desert at the end of Zabriskie Point - but, as Schmidt points out, "Who knows how these things connect with the holistic mix of often dissonant forces that become Black Mountain?" Indeed: Listen and get out.