Desert Eagle
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Desert Eagle

San Dimas, California, United States | Established. Jan 01, 2002

San Dimas, California, United States
Established on Jan, 2002
Solo Rock Acoustic




"Octave Drops Review"

This is a collection of 4-track work from about 3 years or so back. There's a fairly standard theme running throughout - darkness, at least vocals wise. The bass is big, brutal and occasionally fuzzed up. The guitars remind me of Sisters of Mercy at times. There's much, much more involved though, I detect NIN, Aphex Twin, The Prodigy and the darker side of Soft Cell. There's great use of alternate panning and delayed backing vocals, giving an eery feeling, and then we get some Beck-ed up scuzz pop via Leeds' sadly demised Baby Food. Definitely interesting and worth checking out the website for more.

- Tasty Fanzine - Summer 2005

"Mysterious Waves/6TH 6TH 6TH Review"

"Inspired by the likes of Chrome and Helios Creed, the material on these two albums ranges from lo-fi, screwed-up spacerock to lsd-influenced pop rock to haunting, ambient soundscapes. There's also an early kinda-new-wave/80's industrial approach. All the while Blackloud's lyrics swirl and revolve around sci-fi and alienation. Inspiring and highly original, both "6th 6th 6th" and "Mysterious Waves"will certainly please many heads out there. Count me one of them."
- Roadburn - Summer/Fall 2005

"Blackloud Website Review"

Blackloud is the project of bass soloist James Blackloud. The intensity and volume this one person creates is astounding. Imagine a semi truck driving through your living room and you might get the idea. But at other times, he brings everything down to a quieter level without losing any of the power. The hodgepodge of styles Blackloud creates could be called acid, industrial, or lo-fi depending on which track you are listening to. ‘Ween-esque’ is the closest thing I can come up with for a comparison or description. The speak/sing/yell vocal styling of Blackloud will not be heard on Top 40 radio anytime soon but those with an open mind will be pleasantly surprised with the originality they hear. - Demorama August 2005

"Mysterious Waves/6TH 6TH 6TH Review"

" Flarden industrial, psychedelica, lo-fi, blues, hardrock, rock’n’roll en experimentele jaren tachtig pop komen voorbij. En ja, onwillekeurig denk je aan Black Sabbath, Ministry, Pink Floyd, Black Moon en The Residents. Maar lijken op die band doet Blackloud niet. " - Fadeoutmag - Fall 2005

"6TH 6TH 6TH Review"

" Bass Heavy Acidic Pop Rock & Roll Sci-Fi - that's the self-description provided by the website, and ambiguous as it is, it's as close as you can possibly get to accurate description. If you can imagine Ween with a psychedelic heart and industrial tinge, producing the soundtrack to some creepy horror film, then that might give you an idea...but probably not."
- Ninehertz - Fall 2005

"Mysterious Waves Review"

" an interesting excursion into lo-fi acid folk-rock that comes across like a southern fried mix grill of Morphine, Beck, Sparklehorse, The Cure and The Crazy World of Arthur Brown using ingredients and instruments previously pickled in a jar of southern bourbon, matured in a deep sweltering swamp and finally smoked over a pile of waccy baccy."

- Whisperin and Hollerin - Fall 2005

"6TH 6TH 6TH Review"

"In a language that’s equal parts English, tongues and binary code, Blackloud – real name James Blackloud, should he be believed – unearths a corner of the music spectrum populated by Kyuss and Richard D James at his most manic, armed with a rhythm section and a complete lack of respect for his neighbours. The sound of the devil himself beating the crap out of you with a laptop. To Black Sabbath what Four Tet is to Simon and Garfunkle, in a roundabout way."
- New-Noise - Summer 2005

"Mysterious Waves Review"

Last time on 6th 6th 6th mysterious acid folk stoner guru Blackloud was noisy unstable and inventive as hell. The kind of inspired chaos that hinted at the cheeky wrongness of Butthole Surfers or even a more mentally erratic Ween. Mysterious Waves is a little softer, a little more mellow, a little more fireside, where he has eschewed guitar and keyboards and does his best to soothe. Yet everything in Blackloud’s world is twisted and malleable and though these tunes are resolutely low key, focussing more on vocals the reality is he can’t help but imbue these tunes with a controlled twistedness. In some ways this assists it to succeed more than its predecessor, where as he has stripped away many of the extraneous weirdo noises and strange riffing to reveal, gasp, an interesting inventive songwriter. The strange inebriated psychedelic sounds that do remain are employed specifically within song structure where Blackloud is rasping along to some really inventive and unpredictable music. - Thermostat - May 2006

"Octave Drops Review"

An interesting proposition, electronically manipulated beats that never overtake your hearts pace, a dark malevolent voice that equally creepy and menacing, all underpinned by spiky delay drenched guitar lines that weave and curl their way through the resulting melee… There are moments of dark psychedelia and shoe gazing melodrama throughout, but all settled by our narrators expansive sonic visuals… A dark and twisted voyage, but well worth the entry toll! - Subba-Culcha - Febuary 2006

"6TH 6TH 6TH Review"

What we have here is James Blackloud, playing bass, vocalizing (a neat-o cross between singing and speaking), using what he calls an “old school” Roland drum machine, and some harmonica as well. The music he makes belies the slim arsenal, though– things can get surprisingly dense here, without getting muddled. Or quite spare, without getting boring or sterile. Either Blackloud is a mad genius, or just plain mad, but I’m digging this a lot.

We have a psychedelic rap song (track six – sorry, trying to figure out all song titles is giving me a headache – maybe cleaner packaging next time?); an electronica/doom song (“Deep Clean”); and a song that is nearly impossible to describe, but earns my award for The First Song in History That Made Me Think Simultaneously of Henry Rollins, Devo, The Buggles, and Timothy Leary (that would be track seven). The trip ends on a nicely dusky note with “War Chief,” which makes me want to name-drop more bands, but about which I will simply say that it can be listened to several times in a row and still leave you SR folks wanting more. - Stonerrock August 2006


'Mysterious Waves' 2003 unreleased demo
'6th 6th 6th' 2003 unreleased demo
'Octave Drops' 2001-02 unreleased demo
'Bad Sounds' 2001 unreleased demo





Lots and lots of underground unrecorded songs being brought above ground in an attack formation

"Unfortunately, the music of Blackloud (aka singer songwriter Jimbo Burton) doesn't readily lend itself to easy "for instance" examples. But let's try anyway... how about "incredibly strange music for people who thought they'd heard it all before before they heard this." A former member of the cherished Albany trio Small Axe, Blackloud's music presents wildly psychedelic experimentation atop a foundation of vocals, bass, drum machines and synthesizers. As evidenced by Blackloud's two self released CD's, 6TH 6TH 6TH and Mysterious Waves, Burton has soaked up a lot of the psychotronic musical theatrics presented by the likes of The Residents and Roy Wood but has managed to come up with a sound that doesn't owe a whole hell of a lot to either. Rather, Blackloud's music is a bizarrely engrossing voyage into the center of a warped mind that will keep you coming back for more." ARTVOICE

"Recording by himself, Blackloud creates a hybrid of psychedelia and punk that digs deep into your conscious and subconscious. No escaping it. Huge sounds, layers deep, of oscillating energy, grinding low end, atmospheric sounds that seem to come from alien worlds, echoing hi-hats and kick drums, and unusual trains of lyrical thought zipping this way and that. Sometimes the songs are funny, sometimes they're like dreams you can't quite work out, but they always get your full attention. The most amazing thing about all of this is the way Blackloud works. All of the instruments that sound like guitars are basses. Blackloud is a self-promoted artist who doesn't fit easily into any one category, but his talent is hard to ignore, so he's probably destined for "underground legend" status, at very least. " COSMIK DEBRIS

"Well... imagine a witch's cauldren of Stoner Rock, Psychedelia, Chrome and The Residents, and you might get something like Blackloud. It's really tough to describe but despite my analogies coming from left and right field I have to say Burton has molded a recognizable Blackloud sound. And anyone who can do that and set themselves apart from the rest gets a thumbs up from me and a big shiny purple star from teacher." AURAL-INNOVATIONS

"The Blackloud sound mashes dark Zappaesque musical wit, half-frightening Meat Puppety desert poetry and evil Sabbath riffs with worried skittering didital rhythms for a combination that'd have Marilyn Manson twitching with DT nerves." METROLAND

"It's bright folkadelica that incorporates elements of numerous genres of sound and wraps them up in an idiosyncratic soup of weirdness that at times is quite reminiscent of Ween with a Texan twang." CYCLIC DEFROST

"Kind of like Devo when the batteries are on the way out. With extra death vibe." ROBOTS & ELECTRONIC BRAINS

"It's minimalism (and the bass tone) recalls Thingy, but Blackloud is definately its own genre." SPLENDID

"Drenched in musical imagination and grounded in catchy and compelling songwriting." BRAINLOVE

"Extremely lo-fi/sci-fi, dark and playful and timeless and strange" STONER ROCK CHICK

"100 times more intriguing and original than most college rock" DREAM MAGAZINE

"The perfect balance of melody and insanity." DO SOMETHING PRETTY

"Really trippy stuff!!!" DAREDEVIL MAGAZINE

"Far out lyrics!" LOWCUT MAGAZINE

Band Members