ALBUM REVEW: Pavement Ends – Yawning Man
Desert rock pioneers YAWNING MAN embark on their latest epic journey through the dunes, with new album Pavement Ends. The trio was a cornerstone of the generator party scene that birthed the likes of KYUSS and FU MANCHU back in the 90s and created a legacy of bong ripping stoner rock and metal that continues to this day. While a bunch of those bands made albums that sounded like cruising through the desert in muscle cars, YAWNING MAN’s music was the equivalent of munching a load of peyote and wandering the Mojave in search of enlightenment. Pavement Ends sees them continue that quest, however this time round it feels like they’re not just wandering, but have a a clear destination in their collective mind’s eye.
As soon as the grandiose riffing and tumbling drums of opener Burrito Power begins, the listener is taken by the hand and invited to take that first step on the sprawling journey ahead. As the track unfolds, endless skies and infinite horizons are unveiled. While they still retain their trademark cinematic majesty, the compositions on Pavement Ends are much more focused than on some of their more recent albums. Rather than going on extended free-form jams that sometimes verged on noodling, here they let melody speak for itself, often meditating on a single riff for minutes on end. And where there are lead sections, they revolve around just a few sparse yet tastefully chosen notes.
Even the nine minute long title track, while it does meander through various sonic passages, there is restraint in the lead work, and this less-is-more approach pays dividends. The notes they do play tug on your heart strings and speak to your very soul. There’s a sense of melancholy to this album, especially tracks like Gestapo Pop, Bomba Negra and the closing track Bad Time To Be Alive. Where previous YAWNING MAN records have been all about the vibes, Pavement Ends feels like it’s got something more to say, and it does so without a single lyric being sung.
As can be expected, the production is raw and organic, like artisanal honey. The speakers purr with the satisfyingly warm crackle of vintage amps being pushed, not quite to their limit, but in that sweet spot between clarity and distortion. Mario Lalli’s basslines sound especially full bodied, and in fact it’s his playing that drive the songs forward, while Gary Arce’s guitars are used to great effect to provide atmosphere and colour. Bill Stinson’s backbeats are sparse enough to provide that wide open space to the compositions, and to let everything breathe like a fine wine, while his intricate work on the hats and toms add the floral and umami notes to the bouquet.
Pavement Ends is one of those meditative albums that invites the listener to take some time out of their day and let the sonic waves wash over them, or perhaps take a long drive with no real destination in mind. It’s a journey worth taking multiple times in order to discover new scenery with every footstep.
Rating: 8/10
Pavement Ends is out now via Heavy Psych Sounds.
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