All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Well this time out GnH, contact at: email@example.com, have radically departed from their previous releases. This is a strongly vocal album full of samples and bizarre sonic treats. Helmerich’s voice is as good as money if the right person hears him. He can croon right alongside U2, Talking Heads, or Sisters of Mercy lead vocalists. The explosive Virgil Donati rips up the skins with Richie Garcia percussing. Linda Nilsson does backing vocals.
Much angst and gothic-tinged gloom hovers around this quirky and kinked release. Avant-garde electronic treatments, introspective howlings, turntable antics by “Black”, and mean guitars abound. I absolutely got off on the Zappa meets George Michaels meets Stone Cold Steve Austin meets Godzilla on “Giant”. Crazy rock abandon! Fee-fi-fo-fum, Fee-fi-fo-fum, Fee-fi-fo-fum, Fee-fi-fo-fum, oh yeah! Garsed is on fire with perfect timings and in-your-face crunch. Twang! On “Wake In Fright” I kept hearing Sisters of Mercy and Skinny Puppy with Ministry guitars but at a 16 rpm doom drone. Weird but worthy.
Darkness and dungeon dismal, pained-doomrock continue on “King of Neglect” that Wino of The Obsessed and Spirit Caravan or Circle of Dust would applaud with full force. This is scary stuff will make the Blair Witch run for the outhouse. My favorite lithium moment/‘ludes drool/thorazine shuffle/controlled substance piece was “Vicodin”. Beautifully anguished guitar work and ethereally oppressive treatments and ambient textures make me cry for Garsed and Helmerich to please, please do a 2CD release of instrumentals like this. I am dead serious!
On “Simon Says” we have a return to that “Giant” monster-crunch, smashed-thumbed pathos, and phat fuzzed bass. I pity the poor fool that has to tune Garsed’s axe after this kinda abuse. “Galactic Waterhole” and “Nemesis” offer more eclectic rock but on the fine “Bad Luck Go Away” outro we are graced with oodles of superb Jeff Beckian, Hendrixian, and Satrianic outer limits, riffs done in that fine Garsed and Helmerich style. Big high five on this one mates! ~ John W. Patterson
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.