Dead Meadow

We've longed for the day when LA-via-DC transplants DEAD MEADOW would drop a studio album that matched the power of one of the best shows on the planet. With Old Growth, the firm of Simon, Kille and McCarty have delivered a remarkably clear, powerful and confident recording that should elevate the trio into the pantheon of great guitar bands of our time.
Recorded at both a haunted rural Indiana farmhouse, and at LA's Sunset Sound (in the studio where many of the tracks for Led Zeppelin IV were laid down), Jason Simon continues his reign as a modern-day Jimi, while the rhythm section recalls the creativity and tension of Jack Bruce and Ginger Baker.
Darlings of both the stoner rock and modern psychedelia worlds (and featured in the new movie on heavy rock named after one of their tracks, "Such Hawks, Such Hounds"), DEAD MEADOW transcend both. Over the last ten years, they've reacted to the country's swelling conservatism with a particularly escapist, surreal, lovely, and deafening sound of their own, and an exponentially growing audience tuning in.

The History
 
Dead Meadow met in the DC punk/indie scene, though their music draws from more faraway sources. The band formed in the fall of 1998 from the ashes of local bands The Impossible Five and Colour, when singer-guitarist Jason Simon, bassist Steve Kille, and drummer Mark Laughlin set out to fuse their love of early 70's hard rock and 60’s psychedelia with their love of writers J.R.R. Tolkien and H.P. Lovecraft.
Dead Meadow released their six-song debut in 2000 on Fugazi bassist Joe Lally's Tolotta Records, and a joint vinyl release on D.C. indie label Planaria Records. In 2001 the band released its second album, Howls From The Hills, on Tolotta. Where the first self-titled album was recorded in their practice space for a couple hundred dollars and plenty of learning curves, Howls From The Hills was born in a barn in Liberty, Indiana. Their sound fuller without losing its live essence, the band grew to encompass everything from ambient guitar drones to surging psych-funk sludge, blues-folk tunes to barbiturate space-rock, and some southern slow boogie thrown in for good measure.
Dead Meadow released their six-song debut in 2000 on Fugazi bassist Joe Lally's Tolotta Records, and a joint vinyl release on D.C. indie label Planaria Records. In 2001 the band released its second album, 'Howls From The Hills,' on Tolotta. Where the first self-titled album was recorded in their practice space for a couple hundred dollars and plenty of learning curves, 'Howls From The Hills' was born in a barn in Liberty, Indiana. Their sound fuller without being overcomplicated or losing any of its live organic essence, the band grew to encompass everything from ambient guitar drones to surging psych-funk sludge, sparse blues-folk ballads to distorted barbiturate space-rock, and a sprinkling of southern slow boogie thrown in for good measure.
In spring 2002, original drummer Mark Laughlin reluctantly quit the group, replaced by old friend and previous collaborator Stephen McCarty (whose grandfather's farmhouse is where the band recorded Howls From the Hills). Also in mid-2002 the band found an unlikely patron in Brian Jonestown Massacre's Anton Newcombe, who recorded, produced and printed Dead Meadow's live disc 'Got Live if You Want' it on his "Committee to Keep Music Evil" imprint of the legendary Bomp label. Soon after, they recorded a Peel Session at the Fugazi practice space - the first time the BBC recorded a Peel Session outside their own studios.
Shortly after signing with Matador in 2003, Dead Meadow self-produced 'Shivering King And Others' in the basement studio of the DC Pirate House over five months and during a busy schedule of touring. Along with the heavy rockers and bluesy numbers as on the previous two records, the band went deeper into the psychedelic realm, with chiming acoustic touches and lovely, disorienting ballads.

Steve Kille – bass
Stephen McCarty – drums
Jason Simon – guitar, vocals