The High Heavens story begins in 1996 when Austin, TX emo-punk troubadours Glorium were invited to do a southern US tour with Washington, DC legends Fugazi. This is where Glorium guitarist Ernest Salaz (and later of the moody dark pop band I Love You But I’ve Chosen Darkness) met Fugazi’s Front of House engineer Nick Pellicciotto (from DC’s Edsel and New Wet Kojak).
Fast-forward to Austin in 2017, and the two friends formed the beginnings of High Heavens, a band built on their same musical interests of the last 10 years. The band’s lineup was complete with keyboardist Jeremy Erwin, bassist Jonathan Skaggs (from San Francisco’s Crime in Choir), and the engaging, effervescent vocals from one of Austin’s favorite sons, John Matthew Walker.
Their first single and album Springtime Don’t Call was recorded and produced by Stuart Sikes (Loretta Lynn/Jack White, Modest Mouse, A Giant Dog, Sweet Spirit, and The Sword to name a few).
The band was able to play once in 2021 during the pandemic when tensions arose. Keyboardist Erwin had enough of Austin and moved to Colorado, and Pelliciotto and Skaggs decided to pursue other musical interests. It was during this time that High Heavens transformed. Ernest and Johnny decided to record a few more songs with Stuart without a band. Ernest reached out to his former Glorium rhythm section of George Lara (now with ‘60s Chicano soul band Eddie & The Valients and San Antonio pop band The Please Help) on bass and Juan Ramos (The Please Help) on drums, and with a skeletal framework recorded a few basic tracks.
Additional recording was done at The BBQ Shack by Austin heavy garage/psych/hardcore musician Jason Morales (guitarist for Tia Carrera, Black Mercy, Migas and Olympia, WA’s Helltrout.)
Old time friend Conrad Keely of …And You Will Know Us By The Trail of Dead played additional keyboards on “Life is a Loan Shark”, as well as sax and Rhodes piano on “Hundred Bullets”.
High Heavens is currently rehearsing with new members and will play shows all around Texas starting in November 2022.
Today Glide is premiering the album’s first single “Life is a Loan Shark”, a dreamy song about boyhood memories and lost love. The band’s mix of brooding indie rock and psychedelia takes the spotlight on this song, which finds them layering in heavy synths courtesy of Jeremy Erwin. There is a touch of Bowie, a touch of the Twin Peaks, and a sprinkling of dark lounge pop. This comes together to make for a song that is intriguing and enchanting, with vocal harmonies and musical layers falling into place.
Ernest Salaz describes the process behind the tune:
“Life is a Loan Shark” was based off of an acoustic demo called “Bolero” that I sent to the band, eventually completing and playing it live right before the world shut down in 2020. I really wanted to record it while it was hot but the other guys decided to move on. That’s when Johnny and I made the decision to track it with Stuart. I called up my old rhythm section from Glorium who drove in from San Antonio. We spent the whole day learning it and making it more minimal, with less of a rock sound, and more room to add layers later which I did at Jason Morales’s place. Once Jeremy added his keyboards remotely I knew we were on the right track! The isolated keyboards sound amazing. For me, it was a natural progression to take what I learned from my other bands to make something deep, lush, and immersive. Johnny and Stuart are the perfect conduits for all these pent up ideas I had.”
John Matthew Walker adds his own perspective on the lyrics:
“Life is a Loan Shark is a reflection on the deficit between our expectations and that which life delivers. There she laments, drooping jaw; her search for gold brought silver. See her dance, grateful hands; a coin is found before her.”
LISTEN:
