What: Black Mountain, with Solo Viaje, Strange Rover

When: 7 p.m. Wednesday, doors open at 6 p.m.

Where: Domino Room, 51 NW Greenwood Ave., Bend

Cost: $15 plus fees in advance

Contact: midtownbend.com or 541-408-4329

Guitarist and songwriter Stephen McBean and drummer and pianist Joshua Wells worked together long before Black Mountain existed.

The two musicians were heavy-hitters in the Canadian punk and underground rock scenes (McBean toured with the band Gus and played in Mission of Christ and Jerk Ward; Wells was in Radio Berlin) when they first united in the mid-’90s in the group Ex Dead Teenager. Their musical relationship continued in the duo Jerk with a Bomb, which released three albums in the late ’90s and early 2000s and was winding down when McBean launched Black Mountain and its sister project, Pink Mountaintops.

McBean, Wells and Wells’ partner Amber Webber would form Black Mountain’s backbone through four studio albums starting with 2005’s self-titled effort, a soundtrack to the surf movie “Year Zero” and countless shows. But shortly before McBean began sessions for what would become Black Mountain’s fifth album, “Destroyer,” due out in May, Wells and Webber left to focus on their own project, Lightning Dust.

“Josh decided he didn’t want to do it anymore, which is fine, and then Amber — I mean, they were a couple; they’ve been a couple forever — and then after that, I guess Amber decided she didn’t want to,” McBean said recently from Los Angeles, where he’s lived for the past nine-plus years. The new version of Black Mountain — featuring drummer Adam Bulgasem, singer Rachel Fannan, bassist Arjan Miranda and longtime synthesizer player Jeremy Schmidt — hit the road this week for the first tour in support of “Destroyer,” including the band’s first Bend date at the Domino Room on Wednesday.

“There was a bunch of time where I was sitting around,” McBean continued. “Jeremy still wanted to do it, and I was sitting around and kind of — the heart goes back and forth of what you want to do and life and stuff. I mean, it’s kind of a thing — if someone doesn’t want to play music with you or in the band, I’m definitely not gonna try to persuade them.”

Eventually, McBean started writing and recording new music in his rehearsal space. He invited friends to contribute, including former Flaming Lips drummer Kliph Scurlock and Oneida drummer and rapper Kid Millions, alongside new and returning members of the band such as Miranda (who played on “IV” but left before touring behind that album began), Bulgasem and former Sleepy Sun vocalist Rachel Fannan.

“I was basically just writing songs and recording, and it wasn’t — I didn’t know if it was gonna be Black Mountain or Pink Mountaintops or something new,” McBean said. “… I just had a big batch of songs and sent them up to Jeremy, and Jeremy, when he started adding his synths and stuff, then it was like, this is sounding like Black Mountain in a different form.”

That was what led McBean to make the album a Black Mountain record, even though its gestation bore more in common to the collective nature of Pink Mountaintops (of which McBean is the sole steady member).

“There’s definitely a time to call it a day,” he said, “but if I had put this same record out under a different name, people probably would’ve been like, ‘Oh, it sounds like Black Mountain.’ Having it under Black Mountain is also — more people are gonna hear it because of that.”

Lead single and album opener “Future Shade,” released earlier this month, continues McBean’s penchant for proto-metal riffs, psychedelic soundscapes and dense harmonies (courtesy of Fannan). The song’s barreling rhythm seems designed for a long drive, and that’s no accident — McBean obtained his first driver’s license in 2017, and this influenced everything from the album’s sound to its title (a reference to the 1985 Dodge Destroyer).

“I kind of rediscovered music through driving, which was pretty cool,” McBean said. “I’d basically make a rough mix of something, and then take it out and drive around Hollywood or drive around Laurel Canyon or wherever and listen to it that way.”

Given McBean’s punk and metal past, it makes sense when he admits that he usually brings the heavier elements to Black Mountain. But the band’s sound has always spanned a wide spectrum, from the debut album’s horns and gospel inflections to the spacier elements of “IV.”

Perhaps that’s why Coldplay asked the group to open its national tour in 2005. It was Black Mountain’s second or third tour, and found McBean and company playing for crowds of up to 20,000 people — still their largest audiences to date, McBean said.

“At the end of the tour, they all came into our dressing room, and they brought us champagne, and Chris Martin said, ‘Wow, we’ve never toured with a band that made us feel like such pussies every night,’” McBean said. “Maybe he didn’t use that term, so I don’t want to — maybe it was ‘wimps’ or ‘wusses.’ And it was like, yeah, well, that’s your problem, buddy. I liked that ‘Yellow’ song, and that’s about as much as I know, but they were super nice.”

McBean’s musical restlessness bodes well for Black Mountain’s future.

“We could put out a synth record, like a Klaus Schulze, Tangerine Dream record, or we could put out a ragged, Neil Young-Crazy Horse-type record — I mean, not as good as that, but pretty close,” he said. “We have a freedom to just do what we want musically, which is also one of the reasons why I kept it going.”