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The mighty LA rock outfit Everest just released their new album Ownerless. That title was inspired by a song of the same name, so it's appropriate that its' the single the band is leading with. It's a sneaky, road ready kind of jamthe kind of song that inspires images of never ending highways streatching into the horizon. So director Adam Littke runs with it in the black white, film noir-ish video for the song. The video is about escaping everyday entrapment in favor of the freedom of something a little more vagabond. Not sure our man here is up to the task however. He takes a bump on the head and spends most of his time in a video-long daze.

Artist Bio

Often descriptions of bands fall into the equation of "this well known group plus this other established act plus a few adjectives." But some bands defy this shorthand, offering something so pure & true that its roots aren't apparent. Everest is this sort, taking us down to foundational rock truths with an easy glide and expansive vision. While one can draw some clues from the folks theyve toured with Neil Young, Wilco, My Morning Jacket ultimately Everest is simply a great rock 'n roll band in the classic, open-minded mold, something boldly apparent on their sophomore release, On Approach (arriving May 11th) on Warner Bros. Records / Vapor Records).

Formed in Los Angeles in 2007, Everest is comprised of Russell Pollard (vocals, guitar, drums, lyricist), Jason Soda (guitar, keys, vocals), Joel Graves (guitar, keys, vocals), Elijah Thomson (bass, vocals) and Davey Latter (drums, percussion). Their 2008 debut, Ghost Notes, drew strong critical marks and comparisons to primo Topanga Canyon, California country rock. However, none of this quite prepares one for On Approach, which finds the group in a full-tilt creative charge.

"We weren't a band for very long when we made Ghost Notes. I had songs, we recorded them in just two weeks, then immediately toured. On Approach has been a completely different experience," says Pollard. "Now its guys who've actually struggled together and survived some tight spaces, cramped hotel rooms, some arguments and some really, really good times. There was a lot of collaboration, and we werent afraid to do anything."

On Approach is a bold album that bolts out of the gate with an enveloping sound capable of filling large spaces, both in the outside world and between ones ears. In broad strokes, it hits the sweet spot between stratospheric, stadium size rock and gorgeous, emotionally charged pop craftsmanship. From infectious and thumping opener "Let Go" through heavy rocker "Ive Had This Feeling Before," the sweet humming, "Keeping The Score," the naked romance of "Dots," the haunting, spacious roots rock of "East Illinois" and "Fallen Feather," and culminating in the boiling over cascade of closer "Catalyst," On Approach moves with a focused, switched-on intensity that announces the arrival of one of the most engaged rock units today.

On Approach isnt just an assemblage of random tracks, but a classic two-sider vinyl kind of album, where the full resonance and weight of it can only be felt by taking the full ride. Everest is this sort of band, too, one that strives for something more than three-minutes in the spotlight. These guys are lifers and the music they make is built for lifetimes, maintaining some elusive core that rewards one with each new spin.

"On Approach has all the good things that make a great record," says veteran producer/mixer Rob Schnapf who mixed Everests latest, and whos impressive credits include such modern classics as Becks Mellow Gold & Odelay, Elliott Smiths XO & Figure 8, as well as Foo Fighters eponymous debut. "This record has a familiarity yet doesnt copy anything. Its expansive, and it doesnt sit in one place. Listening back to the final version, I realized it was like an old-time record experience, one you dont get any more."

With guitars that range from bright and chiming to tense and meandering, harmonies that are both delicate and pastoral, and Pollards gentle, hazy vocals, On Approach is indeed reminiscent of a bygone era, a time before the Internet, when albums were still an art form and stories were told on vinyl. But as it exudes timelessness, as it ebbs from rustic grooves into hushed lullabies, it also asserts itself as something very of the here and now something that is more than the sum of its parts.

"One of the things that's intriguing about this album for me, is hearing the moments where we started to transcend," reveals Pollard, "where those moments and the music became something beyond ourselves."


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