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What a long strange trip it's been indeed. When -- basically -- disappeared from the music scene after, he'd become a black sheep to virtually everyone. Lost in the swirl of drug addiction, and having bought the gun that used in his suicide, it took years for to come to grips with his own evil spirits. While interest in the band never completely waned, it took the likes of and other big feedbacking drone worshipers to bring it to fruition.

In 2005, 's new returned with, a record that was less deafening, but strangely and hypnotically beautiful nonetheless, taking as a primary inspiration the spaghetti Western soundtracks of as a cue to create a new minimal soundscape that was sun-bleached, bone-dry, and more mysterious than anything they'd done before. Issued by 's Southern Lord label, 2008's has a package that is something to behold, with a black textured slipcase, the band name and title embossed in gold, and a booklet featuring a perfect illustration of the title by in four-color glossy glorious art. The title of the album comes from the Old Testament of the Bible in the narrative of Samson and Delilah.

Other than on guitars (and amplifiers), also include drummer, on acoustic and Wurlitzer pianos and Hammond B-3, and bassist (both electric and upright). Guitarist helps out on four cuts as well, and produced the set. Fans of the heavier, more ear-shattering version of the group will find themselves drawn to this more than or the live set; that said, should also attract more recent listeners. Big guitars abound, but they're musical; they're as informed by a much more ringing brand of country sound that can be heard on records ranging from those of to 's Tucson-drenched sonic six-string wind-downs. But in true fashion, the long droning form is back, albeit tempered by minimal repetitive melodies that are simple in structure but hold great power.

The set begins with 'Omens and Portents I: The Driver.' It's nine minutes of controlled crawl. 's guitar and wah-wah pedal are colored by the high ringing tone of 's trademark sound -- albeit it far less ornamental than listeners are used to hearing him.

' drums, so easy to overlook, are perfect in their minimal, muted tom-tom pace; they help to register the tension in this gradually unfolding melody. Reverb, controlled feedback, detuned drone, and high-pitched whine all gradually flood the foreground while the bass and drums hold the line and simultaneously make the tempo nearly unbearable. The Wurlitzer paints the ground between the front-line instruments and the rhythm section, and hints of a lyric statement emerge, fade, disappear, and mutate into others -- very, very slowly. It's dark, powerful, forbidding music. 'Rise to Glory,' while still heavy despite the restraint in volume, is somewhat brighter. Uses big chords, a slowly evolving riff, and a high-twang country ring in his attack, and the drums walk a middle ground between pulse and actual time signature.