Tag Archives: The Doors

Purson – Desire’s Magic Theatre

Posted on by

purson_desires_cover ghostcultmag

Those unfamiliar with the sonic charms of Purson may wonder if the glut of praise engulfing the Southend quintet is garnered mainly by mystical talisman Rosalie Cunningham. There’s more than enough retrograde magic oozing from the pores of second album Desire’s Magic Theatre (Spinefarm Records), however, to justify the hype.Steeped in Folk-Pop whimsy, ‘Electric Landlady’s blend of mid-70s Glam and Prog is graced with oscillating organ notes: its wistful melodies leaning towards All About Eve, alongside Cunningham’s Julianne Regan-like plaintiveness. The vocal lines of the Folky, progressive ‘The Sky Parade’ possess that band’s brittle, striking harmonies and evoke their halcyon days beautifully, whilst the body of the track retains an eerie chord structure and pungent atmospheres. ‘The Way It Is’ and ‘Mr Howard’, however, bring comparison with the Indie-Pop of Regan’s short-lived Mice project: despite this, the Psychedelia coursing through the album increases the heavy feel of the latter’s rhythms.

Creativity abounds throughout: ‘Dead Dodo Down’ intersperses circus-style cascades with the brassy quirks of Tori Amos circa Boys For Pele (Atlantic / East West), all underpinned with that heady whiff of patchouli oil. Indeed, it’s not the only nod to the Goddess of Heartbreaking Piano: ‘Pedigree Chums’ remains rooted in the …Pele experimentation, seedy sax embellishing a lazy, hypnotic delivery and Raphael Mura’s mesmeric drum sequences. The languid, swaying ‘The Window Cleaner’ and closer ‘The Bitter Suite’, meanwhile, perfectly embody the retro, ‘60s Hippie’ feel, possessing subtle Eastern progressions and an air of The Doors’ lighter moments. ‘…Suite’ is the most experimental chapter: moving passages accompanied by flute solos and Jazz inflections, whilst the elongated bridge is reminiscent of Bugsy Malone’s introspective scenes.

Nobody, however, can deny the influence of latter-day Beatles on the whole set. The dreamy ‘I Know’, its gently infectious vocal marrying with a ‘Sgt Pepper’-style centrepiece, is the greatest example: but the hallmark is everywhere and, strangely, it’s no bad thing when conducted by such a free, mischievous spirit. Radiating sunshine from even its most melancholy moments, Desire’s Magic Theatre will delight anyone who yearns for that 70s quirkiness to infect their lush, harmonic heaviness.

7.5/10.0

PAUL QUINN

[amazon asin=B01BN23RMQ&template=iframe image1]


Jess and the Ancient Ones – Second Psychedelic Coming: The Aquarius Tapes

Posted on by

116915_original

Hailing from Finland, the country that gave us Nokia phones, Nightwish, and the actual home of Santa Claus, comes psychedelic sextet Jess and the Ancient Ones. Formed in 2010 initially as a seven piece, the band released their self-titled début two years later and quickly found themselves lumped in with the burgeoning occult-themed rock movement; their second full length album Second Psychedelic Coming: The Aquarius Tapes (Svart) distancing them from such casual pigeon-holing, proving there’s more to JATAO than just occult imagery with a ’60s/’70s vibe.

Beginning with a drum intro that sounds like The Surfaris performing ‘Wipe Out’ at midnight while wearing black robes and cowls, opener ‘Samhain’ (remember to pronounce that as “Sow-in”, kiddies) is basically surf music for Satan. Adding excerpts from the “Witches’ Sabbath” episode of CBS’s Radio Mystery Theater, actor E.G. Marshall‘s monologue about convocations of sorcerers, old chronicles and orgies gives the song a real White Zombie feel before hitting you with an unnaturally bouncy riff and a chorus you won’t be able to get out of your head before the next autumn equinox.

‘The Flying Man’ slows things down a little and features some nice organ work and a simple chorus. ‘In Levitating Secret Dreams’ is a catchy little number with hand claps and more surf guitars, written about Swiss scientist Dr. Albert Hofmann. Not heard of him? Well, he’s the chap who synthesised LSD way back in 1938 and took the world’s first intentional acid trip five years later.

‘The Equinox Death Trip’ is driven by a pulsing bass line and a strong beat. Singer Jess‘s vocals ring clear above everything, backed by some nifty keyboard work and lots of wah pedal during the extended solos. No album like this would be complete without the recorded ramblings of Charles Manson, and the excellent ‘Wolves Inside My Head’ uses them to great effect, accompanying the trippy surf guitar riffs and “Oh, Charlie darling. What have you done?” refrain perfectly.

If you ever wanted a song where a band throws everything they have at a dartboard to see what sticks, then the ambitious 22 minute closer ‘Goodbye To Virgin Grounds Forever’ is for you. Luckily, far more sticks than falls out, and although clearly overlong, only really drags in a couple of places.

Although not as immediate as the début, The Second Coming has a lot more going on and may take a few listens to fully get to grips with. It can occasionally feel cluttered, or conversely, need a bit of a kick every now and again, but overall it’s a more than worthy follow-up that will have you reaching for the denim flares and incense sticks to make the experience even more authentic.

 

8.0/10

 

GARY ALCOCK


Baron – Torpor

Posted on by

a3379820711_10

The lush, cosmic parps opening Torpor (Svart), the second album from Brighton / Nottingham (UK) quartet Baron, suggest some kind of Jean-Michel Jarre Prog-fest. The ensuing sublime beauty blows that suspicion clean away, the band coming out like some Doors-infused Crosby, Stills and Nash excursion. The “Post” lead guitar and organ of opener ‘Dragonfly’ is pure Krieger and Manzarek; Alex Crispin and Blue Firth’s haunting harmonies stir the soul while the muffled pounding of Luke Foster’s Densmore-like drumming gently hypnotises the mind.

‘Mark Maker’ traverses a similar path, the almost dreamy pace and intonations gradually infused with a fuzzing chord yet descending to a sombre ‘church organ’ style section which, whilst striking in its solitude, leaves you wondering exactly what you’re listening to. The arrangement here, as throughout the album, is the key factor: soft, evocative leads strum over the coda with perfect timing, adding a piquant thrill to an already intriguing sound. The increasingly heady atmosphere of ‘Wild Cry’ leads further down the Jefferson Aiplane style ‘Hippie Rock’ path; while the ensuing ‘Dark Down’ sees Scandinavian Pop rhythms continue to sport those Americana influences like a hessian poncho.

None of this prepares the soul for the emotional wrecking-ball that is ‘Stry’, the first showing of real fire whilst still displaying Baron’s core subtleties in abundance. Initially a lonely stroll across an evening sun-kissed beach, wonderfully-stirring vocals suddenly morph into languid chants before the unexpected explosion into a potent, Drone-like state. The Fleet Foxes-esque melodic tones of ‘Sleepless’, meanwhile, are delicately fired by flickering keys and lead guitar, a sudden switch to Groove perfectly timed to click the fingers and wake the lazily-nodding victims from their peaceful trance.

Every ingredient within this entrancing piece of work plays a major role: Peter Evans’ pulsing, rolling bass the principal factor of ‘Deeper Align’s building swell before the track’s descent into Raga-tinged, heavy guitar-led atmospheres. Indeed there are so many influences in Baron’s armoury that the skill used in melding them together so effortlessly and organically leads to an even greater admiration of the band. The haunting atmospherics of closer ‘Albedo Dei’ carry the listener from an album that will leave an indelible mark on the psyche: the kind that will release something new with each listen, caressing the mind and soul whilst reminding the recipient of the loneliness of despair.

Memorable, magnetic, and nostalgic without being derivative, Torpor is a gloriously reflective experience.   

 

9.0/10.0

 

PAUL QUINN


King Giant – Black Ocean Waves

Posted on by

11096518_10155369038635223_2035927959946545515_n

Sometimes the epithet ‘Southern’ can make one shudder in fear rather than delight, with stodgy ‘Dad Rock’ often found invading its borders. There’s no such danger here… from the off Black Ocean Waves (Graveyard Hill Records), the third album from Virginian old-timers King Giant, displays a brooding intensity: the rumbling bass notes and lead howls of opener ‘Mal de Mer’ invoking feelings of both melancholy and trepidation. The roaring riffs of ‘The One That God Forgot to Save’ carry more of a barrelling stomp than a latent groove, whilst the overall feel possesses some of the Stoner / Grunge of Gorse with Dave Hammerly’s vocal reminiscent of the Brighton trio’s James Parker.

There’s a sleazy, nefarious quality here which prevents the album’s early stages from diving into flabby mundanity. Todd “TI” Ingram’s leadwork is often understated yet enlivening when it appears, evoking The Rolling Stones’ ‘Gimme Shelter’ when splitting ‘Requiem For A Drunkard’s raunchier elements. It gives the lament of ‘Red Skies’ an indolent, Eastern quality, while Hammerly’s plaintive roar portrays guilt and shame with real passion; the whole swaddled within intricate rhythmic patterns and fluid time switches.

There’s nothing new here of course, and the younger metalhead may doubtless find this lacks his or her required energy levels. Rarely, however, does this kind of stuff possess the sort of up tempo, pulsing vibe that King Giant produce with seeming ease; the rampaging yet tempered heavy rock of ‘Trail Of Thorns’, for example, displaying the vitality of The Doors’ later, heavier moments, albeit without the quirky invention. Creativity is here though – the angry roars and swells of ‘Blood Of The Lamb’ are occasionally quelled by a softer texture; a constant duel which heightens the emotion and piques the curiosity further with a dreamy, truly moving Ingram solo. The crushing oscillations of closer ‘There Were Bells’, meanwhile, mix with lamenting yet euphoric verses in an elephantine take on Pearl Jam.

All sounds the old man might like? Sure. Black Ocean Waves, though, gives them a serious injection of power and fervour which lifts King Giant way above the often bloated fayre of their genre.

 

7.0/10

 PAUL QUINN


KEN Mode – Success

Posted on by

a1670594863_10

A wail of feedback, a sludgy, laconic riff, a jarring bass line and Success (Season of Mist) shudders into being in the style of that too-cool-to-give-a-fuck band that ambles on stage and begins the song with each member starting at their own pace and point of choice. KEN Mode, kings of the post-surf/noise rock power-trio kingdom stroll acerbically into their sixth album.

Jesse Matthewson, known for intelligent, confrontation and biting observations, has chosen to measure his delivery this time, and most of his outpourings are part-spoken and spat, rather than roared or thrown from his maw, seemingly intent on imparting off-centre soundbites. “I would like to kill the nicest man in the world” he states at the outset of ‘These Tight Jeans’, where he trades off lines with Jill Clapham in both a catchy and knowingly cool fashion, channelling his inner Jesus Lizard.

The hand of Steve Albini is present all through, as the In Utero (Geffen) producer skuzzes up ‘The Owl’, an astringent swagger with stoner undertones, before a bass crunk and cello mid-section pull the song into a discordant yowl over clashing chords, as KEN Mode play with the notion of traditional song-structure effectively. Sonic Youth would be proud.

Yet all is not rosy in KEN and Barbie’s world. There is a nagging feeling that while Clutch (for whom KEN Mode certainly owe a something to) are naturally and instinctively quirky, for the first time KM things feel a bit forced, as if stating “Handfuls of proverbial shit tossed over and over against that same proverbial wall” (‘Blessed’) is a little close to the mark, and that moving to a more caustic pop sound may be contrived, such as on the overly self-aware and smug ‘A Passive Disaster’. The cap might not fit at the moment, but all it would take is adjusting the clasp at the back. At times, this new KEN Mode just sits a little uncomfortably. But then such doubts are stomped to dust by the rising dynamic of ‘Management Control’ which builds to feedback end, or the exemplary dark, brooding, sprawling ‘Dead Actors’, that recalls The Doors clashing with a more progressive Nirvana.

Mixing a Clutch of stoner, a Tad of grunge and pinch of Mudhoney slovenliness in their Helmet of groove, KEN Mode can consider their transition a Success. Just.

 

7.0/10

KEN Mode on Facebook

 

STEVE TOVEY


Music Video: Dreadlords – Five To One

Posted on by

dreadlords 2

Dreadlords is streaming their music video cover of The Doors’ “Five To One”, off of their debut album Death Angel via Not Just Religious Music below. The band have booked an upcoming festival appearance.

Sep 25-27: Mountain Lake Summer Camp (Shadow Woods Metal Fest) – Fannettsburg, PA

Dreadlords on Bandcamp
Dreadlords on Facebook
Dreadlords on Instagram
Not Just Religious Music on Facebook
Not Just Religious Music on Bandcamp


Video: John Garcia – Her Bullets Energy, Upcoming Euro Tour Dates

Posted on by

john garcia-robby krieger 2

John Garcia (ex-Kyuss, Vista Chino, Hermano, Unida, etc) has released a music video for “Her Bullets Energy,” featuring Robby Krieger of The Doors guesting on the song and appears in the video. View it below.

Garcia has also announced an upcoming summer European run:

Jun 19: Schmittner Open Air – Schmitten (DE)
Jun 26: De Vorstin – Hilversum (NL)
Jun 27: Race 61 – Finowfurt (DE)
Jun 28: Klubsen – Hamburg (DE)
Jun 30: Underground – Köln (DE)
Jul 01: Glocksee – Hannover (DE)
Jul 02: Garage – London (UK)
Jul 03: Vooruit Balzaal – Ghent (BE)
Jul 04: Rockwave Festival – Athens (GR)
Jul 05: Schlachthof – Wiesbaden (DE)
Jul 07: Club Vaudeville – Lindau (DE)
Jul 08: Strom – München (DE)
Jul 09: Rockhouse – Salzburg (AU)
Jul 10: Stoned From The Underground Festival 2015 – Erfurt (DE)


Monster Magnet – Milking The Stars: (A Reimagining of Last Patrol)

Posted on by

21816

 

I’ve never been a fan of an artist tweaking with a release, especially after it has been available for fans to pay money for a couple of years.  It rarely improves the product and in most cases damages the initial spark that brought it to life in the first place. Perfect example, how many people watched Star Wars and thought “Oh I wish Han didn’t shoot first!! Can we have a shit laser blast to appear from nowhere and make the character a little less bad ass please?” No one? Thought so.

Milking The Stars (or fans’ bank balance) is the new album by veteran space rockers Monster Magnet. The record features re-recordings of five tracks from the bands previous album The Last Patrol (both Napalm) which itself was released the previous year in 2013. Despite this Milking The Stars:  A Reimaging Of The Last Patrol ,to give it its full title, reckons it would be a good idea to rerecord them. Oh and by ‘reimagining’ Dave Wyndorf and co basically mean, make it sound like The Doors then add more acid and tie dyed sheets.

The album opens on one of the new songs recorded for the release (five reimaginings, two live tracks and five brand new tracks for the album in total) called ‘Let The Circus Burn’ which can be best described as seven minutes of the band instrumentally pissing around. It might sound good if you were let’s say, smacked out on enough acid to wake Jim Morrison up in the morning, or think it was a good idea to let Ringo sing on a few songs, but to me this is unbearable self-indulgent hokum of the highest order.

The album does have some pretty dirty moments peppered throughout the record when it is not off tripping its face off. The third track ‘No Paradise For Me’ is pretty filthy stuff, not necessarily a return to their stoner roots or their Power Trip (A&M) days, but there is at least something in there.

Overall, Milking The Stars:  A Re-imaging Of The Last Patrol is a reinterpretation of more recent material released by the band less than a year ago with more of a psychedelic vibe. I am going to be honest and say I am baffled as to why this “reimagining” exists as the tracks already feature a heavy psychedelic presence , with the re-recording seemingly pushing that into overdrive, damaging the album in the process.

 

4.0/10

 

Monster Magnet on Facebook

 

DAN O’BRIEN

 


A Sense of Freedom – John Garcia

Posted on by

 

john garcia photo 2014

 

 

As the frontman of Kyuss, John Garcia helped define stoner rock. Since their breakup he’s had success with the likes of Slo Burn, Hermano, and last year’s excellent Peace (Napalm Records) album with former Kyuss bandmates in Vista Chino. Finally, after 20-odd years in the business, he’s putting out a self-titled solo album. Ghost Cult’s Dan Swinhoe talks to John about how it feels to get a life-long project off his chest.

I heard you put everything else on hold for your solo album?

“That’s right. I’ve been wanting to do this for a very long time, and I’ve literally have put this on hold myself for years. My former managers didn’t want me to do this, they wanted me to put it on hold, and I got tired of saying no to these songs. I had this collection of songs that I literally looked at every morning. I had this cardboard box that I kept of songs that were very close to me, they were very personal songs that I liked and had a relationship with, and felt bad for them. I was exhausted of saying yes, yes, yes to fucking everything else and I finally had to say yes to this group of songs. And I got to tell you, you talk about a sense of freedom and a feeling of being liberated – those are not even the words to explain how happy, excited and passionate I am about releasing this record.”

“I’ve been working very hard on this project for a long time and it feels good to be where I’m at right now and all these other bands, all these other cars if you will, are parked in the garage. The Vista Chino car’s parked in the garage, the Unida car’s parked in the garage. Hermano, Sloburn, all these little projects that I’ve got going, they’re all parked. And this car that I’m in right now is fuelled up and she’s purring like a kitten. And I’m gonna take her out for a nice long drive, and I don’t plan on parking her any time in the near future, and it feels good.”

 

John Garcia album cover

So how long have you had this solo album in the works?
“I’ve been wanting to do this since I was about 18 or 19 years old, and I’m going to be 44. You talk about pent up energy and pent up feeling and emotion- that’s a long time to have held on to some of these songs. I wrote ‘Her Bullets Energy’ while living in Palm Springs with Nick Oliveri, and if someone were to tell me that at 19 years old, “Hey kid, you’re going to release this song and Robby Krieger from The Doors is going to play Spanish guitar on it,” I would have told them, “You’re out of your fucking mind, go jump in a lake, there’s no possible way.” and here we are, me at 43 that song’s about to be released, it ends the record and Robby Krieger is playing Spanish guitar on it. Talk about a special moment that I will never ever forget.”

‘All These Walls’ is a rework of an old Slo Burn demo, ‘Cactus Jumper’. How did you pick which songs to put on the album and which to leave off, and how many are left in that cardboard box?
“When I co-wrote ‘Cactus Jumper’ – now ‘All These Walls’- with [Slo Burn bandmates] Chris Hale, Damon Garrison and Brady Houghton, that was special to me. We got together at this little Mexican restaurant in Palm Springs about 5 years ago and I told them that I wanted to put this song on my solo record. For some reason I felt a connection with that song and I thought, you know what, I’m gonna redo this one, this is a song that speaks to me, that’s personal to me.”

ImageProxy.mvc_273

“I have a total of about 44 songs, and I picked out 14, and only 11 of them made it. So there’s quite a bit more. There’s no rhyme or reason behind this collection. I didn’t get methodical. It just made perfect sense to have this group of songs be sequenced the way that were and have them be given a shot to have new life brought back into them at my age. This group of songs is a collective thing but songs that were very special to me and I knew eventually I wanted to release, and if I ever were to release a solo record this group of songs needed to see the light of day.”

This is obviously a very personal project but you’ve got a cover on there and Danko Jones wrote a song for you – was it difficult to give up places on the record if you’ve got others waiting to be heard?
“Danko Jones wrote ‘5000 miles’ specifically for me about 10 years ago. What an honour and privilege to have someone like Danko write a song specifically for me. We always had these conversations when were on tour together of me releasing a solo record and so he took our conversations and recorded this very crude demo while he was on his balcony and he sent it to me. I immediately fell in love with it and there it went on a CD in my little cardboard box, and there it sat. I knew I was going to get to it and eventually I did.”

 

“I’m a fan of songs and I’m a fan of music. I don’t care who wrote it. If I like it, I’m going to most likely cover it. I got a chance to see band called Black Mastiff out of Canada when Vista Chino rolled through town and I fell in love with one of their songs [‘Rolling Stoned’] so much that I had to put it on the record. If I could sing like Philip Bailey from Earth, Wind and Fire chances are there was gonna be an Earth, Wind and Fire song on this record. My next record could be 100% full of covers. If a song touches me and it moves me, chances are I’m gonna cover it and I’m gonna sing it. I personally don’t seen anything wrong with that.”

Was it different recording as a solo artist as opposed to a band?
“Yeah it was, because each musician was hand-picked for a specific song. I’m not a guitar player, my guitar playing is very primitive, but my ideas come down and if I give my ideas to Dave Angstrom [Hermano] like I did with ‘My Mind’, it turns it into something that’s special. There’s not just one group of guys that I worked with, there’s 10 or 15 guitar players and it was an honour to work with every one of them. Dave Angstroms, Eric Belt, Danko Jones, Robbie Krieger, Nick Oliveri, Chris Hale, Damien Garrison, Mark Diamond [The Dwarves]. These are great players and I’m very honoured to play with them in the studio for this collection of songs and I think record would not have been nearly as good without these guys.”
Was it hard to get that continuity throughout the album?

“The conducive part of it was obviously my voice and the percussionist Tom Brayton. Those two pieces made it more conducive because all these collection of songs were from spread out throughout my career from 20 years old to 10 years old to 5 years old to a couple of years old so it had to flow, so we tried to make it sound it wasn’t recorded in different eras. It was a very conscious thing what we wanted to sound like something with flow, and conscious of keeping it simple.”
“That’s where the producers and the passion came in. the musicians were just as passionate about the songs as I was, as the producers were, so that made it really, really easy to go in and record. Again credit where credit is due, Harper Hug and Trevor Whatever at Thunder Underground made it all happen. I couldn’t have done it without them. It’s great to have producers that are equally passionate about the songs and the music as I was.”

How long did recording take?

“It took a year in the planning to due scheduling the players, but start to finish, once we started tracking it took about 30 days. I could have stayed in there for another month but at some point in time you lift your hands up. At that time we were going, “What about this other mix, what about this mix,” and we were thinking if we keep on finger fucking this thing we’re gonna ruin it, and I think at the end of the sessions we looked at each other we went, “Ok, let’s just get it out.”

Does the personal nature of the album mean there more pressure or less pressure than normal?

“Super excited is not the word. I feel like I’ve got handcuffs off me. Not like I was being held hostage by anybody else or another band, but in a way like why haven’t I done this before? A big monumental moment is upon me and I’m basking in it. I’m nervous, but it’s a good nervous. I’m exposed, not under a cloak of a band name, but just my own first and last. But there is an excitable nervousness back behind it. It’s good, if I wasn’t nervous about it, I would be worried.”

“Some people are not going to dig it, and it’s not their thing, and that’s alright. I’m not looking to change the face of rock and roll with this record, I’m not looking to become a rock star, I was never one to begin with, I don’t want to be one, and I’m not backstage thinking I am one. That doesn’t interest me. What interests me is creating and being on stage.”

It’s been about a year since Vista Chino’s album Peace came out – was worth all the legal troubles you had about the name now you’ve got some hindsight?
“Let’s reword it- would I do it again? No. Because the shit I had to go through behind the scenes – I don’t want anybody to go through that. If I would have known the amount of hurt and heartache that I was about to embark on, no fucking way I would have done it. Absolutely not a chance in hell, I would have went in the other direction and never looked back.”

“But we did it. All the shit we went through, we pulled it off and nobody was going to stop us. We were on a fucking mission. There was no question about it, we knew we couldn’t just say, “Ok, later, I’m done.” We knew we were on a mission and had to do it, there was no turning back. We were on a strict hard-core mission to get that record done and we did.”

Is it still hard to think about?

I don’t even think about it anymore. All of that stuff is in the past fully and I’ve moved on a long time ago.

John Garcia on Facebook

 

DAN SWINHOE

 


John Garcia – John Garcia

Posted on by

John Garcia album cover

 

As the voice of Desert rock, John Garcia‘s CV is pretty impressive. He’s fronted a fair few classics with the likes of Kyuss and Slo Burn and shown he’s still got it following last year’s almost-Kyuss album with Vista Chino. But up until now he’s never struck out on his own.

 

Now after more than 20 years John Garcia the solo artist has brought out a self-titled album (Napalm). Featuring guitarist Robby Krieger of The Doors and recorded at his Horse Latitudes studio in Los Angeles, the album features songs that Garcia has collected through the years but never released. The results are a bit of a mixed affair all in all.

 

Opener ‘My Mind’ is a belter, Garcia’s gritty and instantly recognisable vocals cut across simple but dirty guitars with a huge chorus that sticks in your head for days. But unfortunately the album rarely gets as good again. A cover of Black Mastiff‘s ‘Rolling Stoned’ follows and has an enjoyable stoner vibe but is largely uneventful, and ‘Confusion’ lacks any kind of drive.

 

As a whole there is less of a stoner groove and more of a fuzzy 70s hard rock feel about the album. While some of the slower songs work, ‘Flower’ and ‘His Bullets Energy’ show off Garcia’s soulful yet raw vocal style, these quality numbers are outnumbered by the more laidback ones, meaning there often feels like a lack of urgency to the record as a whole.

 

Despite the fair share of average moments there are some real highs. The stomping Danko Jones-penned ‘5000 Miles’ is probably the albums best song with its bluesy gallop, while ‘All These Walls’ (a re-recorded version of a Slo Burn demo) and ‘SaddleBack’ are brimming with the kind of energy that’s lacking elsewhere.

 

While not up there with his classic releases, John Garcia is a solid if unspectacular affair with some real moments of quality but plenty of uninspiring ones too. Fans will lap up another helping of Garcia’s impressive vocals, but anyone hoping for another dose of Kyuss-inspired psychedelia will be disappointed.

 

john garcia photo 2014

 

7.5/10

John Garcia on Facebook

 

DAN SWINHOE