Amplifier worship is practiced, in prime, by two oppositional sects, the gear headed cargo cult menu-as-meal it-can-be-yours-for –the-price-of-your-first-born-child book witch materialists and Expo 70’s full spectrum vibrational, on bent knees, leaning forward into the hum, gravity short circuits, just and certain, lifted by strange harmony and the gliss. of highs and lows, lows so low only a brother knows, or some Kansas City mother-lover like Justin Wright.

Expo 70 has the menace of metals, black’d and doom’d, with out the overt masculine basement boy style posturing (don’t get me wrong there still be acid light and fog machine here), in stead all is equalized: sonics, structures, emotions; balanced for the most part and where not, based-out to oblivion.

The shadow of a rainbow

All tracks on Black Ohms are solo improvisational guitar, but for the all too brief Moog piece “Emerald Fanged Dancer” and the final double-headed ghost dragon “”Midnight Stalking/Dawn of the Black Ohms” with Matt Hill joining the fuzz, pulse, buzz.

There is not something moving in the darkness.

The darkness is moving.

(You who are reading this review,

Check these two dudes live, the album to live ratio is as extreme as that of The Grateful Dead, excepting that Grateful Dead records suck and the two and a split I have heard by Expo 70 are awesome and Matt on keys in a Justin storm (jeez loueez) then, again,

In a bath of acid light and fog.) 8/10 -- Tim Goodwillie (10 December, 2008)