Album Review: From the Ages by Earthless

From the Ages is the first studio recording from instrumental power trio Earthless since 2007’s Rhythms From a Cosmic Sky. Though the silence may have been deafening for their small but devoted cadre of fans, the wait was worth every moment. From the Ages finds Earthless at their most concentrated, and that distillation of psychedelic rock, stoner metal, and electric blues is a heady brew in the hands of Messrs.

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After almost half-a-decade, psychedelic rock trio Earthless have returned with their third release, From the Ages. A double-LP lasting over an hour, From the Ages will certainly provide enough material for fans to immerse themselves in. Opening track "Violence of the Red Sea" is a monstrous 14-minute offering that stands almost as a cosmic Colossus of Rhodes, guarding the entrance to Earthless's sonic dimension.

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Earthless are the missing link between Sleep and Phish, between the Allman Brothers and Black Sabbath. And P-Funk. They're the jam band metal heads are allowed to like, and vice versa. On their third studio full-length, the San Diego psych/stoner band ditch the side-long suites of 2005's Sonic Prayer and 2007's Rhythms From A Cosmic Sky for four tracks ranging between five and a half minutes (Equus October) and the half-hour title track.

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Earthless don't leave room for misinterpretation or error concerning their mission: They are a long-winded guitar trio, hell-bent on riding six electric strings directly out of this atmosphere. No sooner than the drums unload their initial heavy hit on the band’s first album in six years—the ridiculous ripper From the Ages—Isaiah Mitchell takes his first solo, his squealing lead slashing cleanly through a vacant gaze of cymbal wash. The band soon digs back in, with drummer Mario Rubalcaba and bassist Mike Eginton instantly stitching a sturdy pocket.

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Earthless From the Ages (Tee Pee) Instrumental comet Earthless got it right from conception – ride the riff until it becomes a black hole. San Diego triangle Isaiah Mitchell, Mike Eginton, and Rocket From the Crypt propulsionist Mario Rubalcaba hurtle third studio LP and first since 2007 into the void atop a gloriously earthen pachyderm crunch on four tracks, three of which could constitute their own sides of vinyl. Fourteen-minute starters "Violence of the Red Sea" and "Uluru Rock" contrast their velocities, the former's mammoth rhythm tangled in Mitchell's psychedelic lariat, while the latter's frying desert ambience shreds no less fiendish, its drone and groan of ship tanker scrape as hair-raising as its immolating whirlpool.

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