- Released: October 19, 2009
- Label: Load Records
Spin - p.78
"EARTHLY DELIGHTS plays like an epic couch-surf around the globe, with scratchy African guitars, scuzzy Southern-boogie riffs, and a springy dream-pop melody..."
"Lightning Bolt doesn't bother to ease listeners in to their music, instead assailing us with an amped-up wall of sound on 'Sound Guardian,' which is occasionally broken by Chippendale's echoing shouts."
Pitchfork (Website) - "For something so simple and direct, Lightning Bolt's music is pretty genre-straddling..."
- 1.Sound Guardians
- 2.Nation of Boar
- 4.The Sublime Freak
- 5.Flooded Chamber
- 6.Funny Farm
- 7.Rain on Lake I'm Swimming In
Audio Mixers: Dave Auchenbach; Lightning Bolt.
Recording information: Hillarious Attic, Providence, RI (2007-2008).
After a four-year hiatus and a few bailed attempts at recording a proper follow-up to Hypermagic Mountain, Lightning Bolt returns in full force. Here, on Earthly Delights, the thunderous Rhode Island duo's riffs are explosive and punishing as ever, as drummer/garbled vocalist Brian Chippendale and bassist Brian Gibson do what they do best: play incredibly loud and incredibly hard. Their technical proficiency and kinetic energy is still dizzying, and as always, their style is entirely their own. Call it metal, call it post-rock, or call it intolerable noise, there still isn't any other band that quite compares to the glory of Lightning Bolt. Earthly Delights isn't a huge departure from Wonderful Rainbow or Hyper Magic Mountain, but even so, this is forgivable when Gibson and Chippendale's music is so unique to begin with. Most of the album is made up of the classic "Crown of Storms" and "Assassins" types of pummeling thunder -- songs specifically made for popping the eardrums of any parking lot attendants within a 50-yard radius. "S.O.S." and "Transmissionary" fit into this category. Elsewhere, "Sublime Freak" is a furious endurance test, built on a hyper-tribal rhythmic repetition set to an acid-house tempo, the exasperating psychedelic insanity of "Flooded Chamber" weeds out the casual fans from the diehards, and "Funny Farm" finds Gibson tackling some country-metal chicken pickin' that could be a distant cousin of a Jimmy Page solo (think "Bron Yar Stomp" on a distorted bass), before the riffage nearly bashes itself to shambles. Aside from these sidesteps, the most significant change from early albums is in the production, which is extra fuzzed-out and blown apart. It's an exhausting, aneurysm-inducing experience, but with an adrenalin-fueled duo like Lightning Bolt, the fact that they aren't showing any signs of maturity can only be viewed as a good thing. Fans of spastic and difficult music, take heed. ~ Jason Lymangrover