There’s some serious sonic voodoo going on when you drop the needle on DDTs Enter The Bend. It’s like opening a portal to some other dimension powered by third eye enlightenment and super-powered hallucinogenics. Droning guitars, tribal drums, and buzzing synths create a primitive symphony of noise that’s part space rock and part deep woods Psilocybin fever dream.
DDT, or Dieter, Duvall, Taibi, is a drone/psych rock dream team that includes members of both White Manna and Carlton Melton. With some added sound textures courtesy of Rich Millman(Carlton Melton, Night Flights), Enter The Bend is a deep dive into droning fuzz rock of the highest order. Not for the psych rock novice, though. This is for the serious heady mind travelers. To fully appreciate this trip, you need to open your brain and let DDT take hold.
If you’re at all familiar with Carlton Melton and White Manna, then you have an idea of what to expect. Imagine early records like Pass It On, Photos Of Photos, Dune Worship, and Come Down Safari getting thrown into a psychic blender with a case of warm Sierra Nevada and tabs you found in a 50-year old time capsule. Mix it on high and down that magical Big Gulp until the glass is dry and the light show begins. Enter The Bend is a sensory deprivation tank of a record.
The songs on this album sound like improvisational sound collages. Tracks like “Sunpatch” and “The One And Only Constant” open like some newly discovered desert flower. Drums rumble like tribal percussion as guitars and synth intermingle to create a new species of noise. But despite the rolling sonic thunder, there’s an uplifting element in all the noise and sound manipulation. A joy in the art of making music. DDT create a headiness in the simplicity of fuzzy guitars, synthesizers buzzing, and primitive but precise drumming. And when this crew find a riff they like, they lock into it with glee. “Mom’s Song” and “Multiple Greens” both have roots in Spacemen 3, Jesus and Mary Chain, and even to some extent the raucous noise of Blue Cheer. Where both dabble in sunlight, that sunlight is eschewed in a haze of Krautrock, shimmering fuzz, and motorik beats. “Foreverend” sounds like Alice falling down the rabbit hole into some Dali-esque landscape, while “Up And Over” gets into a slow chug of a groove while guitar and synth battle for droning supremacy.
While the main gigs of these guys have evolved their sounds from their lo-fi origins, DDT feels like an ode to those earlier times. No need to jump on any riff rock train or worry about where this mic or that mic should be placed. Enter The Bend is stepping off the cliff and seeing where you land, and smiling from ear to ear all the way down.
8.2 out of 10