4 of 5 stars

The burgeoning roots revival that has taken hold in recent years has spawned a great many new bands and singer/songwriters. Out of a significant yet heterogeneous faction of them, there are certainly more than a fair number, existing as most worthwhile things do on sacred ground well beyond the borders of the mainstream, whose experimental songs aren’t exactly what a music purist would deem proper roots material. That is due in part to all of the genre and subgenre crossbreeding, or musical hybridization, as it were, by bands and singer/songwriters endeavoring to combine the roots styles of a bygone era with a number of latter-day outsider styles that have since developed throughout the scene. A reasonably new addition to the scene is the Heathen Apostles, a dark roots and gothic country band out of Los Angeles, whose newly released debut on Ratchet Blade Records, “Boot Hill Hymnal,” is a perfect example of this.

Heathen Apostles began when singer/songstress Mather Louth (Radio Noir) and seasoned punk figure Chopper Franklin (The Cramps, Charley Horse), each with a fondness for the darker side of roots-centered music, came together and conspired to develop just such a sound, though based on their very own creative visions and musical ideas. Musician Thomas Lorioux (Kings of Nuthin’) was soon brought into the fold, and baptized a fellow heathen, so that he could contribute upright bass to the project. Together, these three birthed a signature sound built on a foundation of guitar, banjo, mandolin, keyboards, bass, and vocals. Even so, like many other roots artists, the Heathens are fine with employing fellow artists throughout the scene to provide additional instrumentation, just as they had for the album. And…on evidence presented by listening to the album itself, the auxiliary instrumentation by non-members indeed served to lay down layers of sound ornamentation, and, as it were, overall compositional improvement. And that is how such remarkable songs as Red Brick Dust, Dark Was the Night (no, not the Blind Willie Johnson gospel blues masterpiece), Never Forget, The Reckoning, The Dark Pines, and It All Came Down were forged.

Both organic and mechanical, or rather both acoustic and electric, the Heathens’ sound possesses twang and distortion, eerie string arrangements and measured rhythms, finger-picking and foot-stomping, the keen low-end of the upright bass and…a host of other qualities, all of them complemented by the sultry yet haunting female vocals of the lovely Mather Louth. In its way, it is also a rather cinematic sound they have created, evoking both old-timey and present-day imagery. And the dark, fire n’ brimstone poetry of the lyrical content…lines of meaningful words which altogether prove a compass of sorts, its points pausing briefly here and there at dusty desert wastelands to the West, sprawling gray cities to the East, Heaven to the North, and Hell to the South. To get to these musical destinations, there is much in the way of sin and virtue, the saved and the damned, tragic love affairs and that which transpires before the fall, nature and artificiality, pleasure and suffering, beauty and ugliness, sanity and madness, and so on in the way that contraries pull the human heart and soul this direction and that direction. Ultimately where we end up is a mystery, however, a well-kept secret about by the haggard sisters of fate, who sit crooked in their dank and sparsely furnished cells, weave the fabric of life with gnarled fingers on their ancient looms, and to often snip the strings of providence too high or too low.

“Boot Hill Hymnal” can be inserted into the noteworthy category of today’s roots music, beside such comparable artists as Phantom of the Black Hills, Tears of the Moosechaser, Bad Luck City, Sons of Perdition, The Dead Brothers, Munly & the Lee Lewis Harlots, Those Poor Bastards, Peter Murphy’s Carver Combo, and the like. Recorded at The Devil’s Doghouse in Echo Park, and produced and mixed by Chopper Franklin himself, “Boot Hill Hymnal” consists of ten all-original tracks of the Heathen Apostles’ dark roots, gothic country, murder balladry, and historic Americana. Some of the songs were composed by Franklin, some by Louth, but in most cases by both of them together…and they did an excellent job in that respect.

While the songs on “Boot Hill Hymnal” are inextricably bound to the present, the modern American South West, but reaches back to long gone years in humankind’s history to come across as a vintage soundtrack to the dusty Depression era, with its filthy faces and empty pockets, its tattered clothes and worn-out shoes, and infertile soil as far as the eye could see; to rattlesnake-handling preachers delivering fevered revival tent sermons while members of the congregation are moved by the spirit and flail about as they speak in tongues; to so many sickbed prayers falling from the dray and cracked lips of those stricken with consumption and nearing their ends; to painted harlots lounging in ornate parlors of brothels on the outskirts of town; to gypsy hexes and acts of six-gun vengeance; to shadowy bounty hunters on horseback, stalking their prey through the moonlight hours; to Johnson Family hobo wanderers sitting around a fire and passing around a bottle of rotgut beneath a rickety covered bridge off a dirt road somewhere in the American countryside; to battered old bibles placed religiously on bedside tables, only a few feet away from the ol’ double-barrel shotgun, and white-robed sinners waiting in line for muddy river baptismal immersions in the Deep South; carrion birds circling overhead, biding their time before descending upon a lover murdered in a violent act of passion; and the like.

That is the Heathen Apostles’ “Boot Hill Hymnal.”

James Carlson – The Examiner
Read the review HERE

Uber Rock recently reviewed the Chopper Franklin-produced, Geza X-mixed cd ENEMY! out on now Ratchet Blade Records, also available on iTunes and Amazon mp3:

Phantom Of The Black Hills – ‘Enemy’ (Ratchet Blade Records)
CD Reviews
Written by Gaz E

You remember how it was when you were a rock kid buying albums with your pocket money, selecting which ones were gonna go home with you purely on their cover art, generally finding out that they sucked all kinds of arse? Well, as the years have gone by, it usually works the other way: I look at an album cover now, sigh, and think of how much time I will waste listening to what lies inside and then trying to write something worthwhile about it, sometimes finding an unlikely gem.

Kinda happened that way with ‘Enemy’, the third album from the mysterious Phantom of the Black Hills.

Masked figures being lynched on the front cover, masked men holding banjos and big fucking knives on the back – this was going to be one of those 45 minutes that I wasn’t going to get back in a hurry, I guessed……but I guessed wrong.

With no clue as to who is actually behind the masks – I’d guess that the band is made up of the members of various other bands but I couldn’t (be arsed to) find out who on the ol’ interweb – I had no clue what to expect when I slipped the disc into my death deck; another of those ‘comedic’ stabs at a country album by someone who should know better was at the top of my list. Thankfully I was wrong again, way wrong.

‘Battle Cry’ opens the album and does exactly what it says on the tin. The Phantom is described as a hellbilly/doom country band and that’s exactly what I got….and a fine example of that curious genre chimera at that. There’s a whiff of the more cinematic moments of Rob Zombie’s newer solo material about the vocals, some Al Jourgensen too, before you remember that Al actually turned in his own attempt at this genre around a year ago; that album by Buck Satan and the 666 Shooters a bit of a mess, truth be told. ‘Enemy’ blows it away, sharp, rather than shit, shooter style.

The follow-up to 2010′s ‘Born To Gun’ album, itself following 2009′s ‘Ghosts’, ‘Enemy’ was produced by Cramps bassist Chopper Franklin and mixed by legendary punk producer Geza X (Black Flag, Dead Kennedys, The Germs), having me thinking once again that these mystery men are players in more than just the doom countryside. But I digress, it mattering little anyway – this is a great album; filthy of tongue, keenly-produced, and hugely impressive.

The album’s dirty dozen tracks fly by, making a mockery of its running time. From the aforementioned opener to ‘Read My Bible’, the album’s closing track, The Phantom and his bad pack mix traditional country instruments – the banjo, fiddle and mandolin, the secretive press release informing me, pushed more to the front than on the album’s predecessors – with distorted guitar and vocals, this album seemingly leaning more heavily on samples and loops: many prime examples of hard-hitting, controversial dialogue permeating the raw, rusty sounds of the record. “Violence is as American as apple pie” – yes, that’s a quote that we’ve heard many times before but here…it just seems right, a tight fit.

Whoever they really are, Phantom of the Black Hills cuts the throat of convention and bleeds out an album cooler than the blade of their frontman’s impressive weapon. The penultimate song on the album is ‘Call Your Bluff’ – sums it up really.

Read the review on the UBER ROCK site by clicking HERE