The myth of the elephant graveyard, a secret place where older elephants go to die and a gold mine of bones and ivory has fascinated treasure hunters for centuries.
It’s not hard to see while driving around the Black List’s hometown of Detroit, why the band would identify with that legend. The decaying hulks of Detroit’s glory days gone by — picked over by copper thieves, pickers and hipsters — are the industrial version of the myth. The Black List’s gritty, no-nonsense brand of rock could be from nowhere else.
Elephant Graveyard, the Black List’s follow-up to their 2007 release The Beginning of the End, is a hard-driving, 10 track record that shoots out of your speakers like a freight train rolling down the tracks, then steamrolls over you again and again, not letting up until the final note is played.
Like their previous album, the band charges through the Elephant Graveyard‘s ten tracks at a furious pace, but this time the music has a nuance that hasn’t always been a part of the Black List’s repertoire.
“It’s not all about aggression anymore,” Black List frontman Jim said. “It’s still there, it’s just not the focus.”