Words by Greg Walker
Ripple Music
Out Now
Let’s get the big name out of the way straight up: Kyuss and stoner rock are synonymous. The genre’s original proponents stamped an indelible mark on music in the 1990s and beyond, and that band will forever be held on a pedestal for many metal and heavy rock fans alike. Once that band imploded, Kyuss singer/songwriter John Garcia quickly established himself as one of the most prolific and proficient of the ex-members, pumping out releases over the decades via many consistent projects such as Slo Burn, Unida, Vista Chino, as well as his quality solo albums. Wedged in between was Hermano.
Just as essential as any band project he has ever been involved in and possibly the most diverse, whilst at the same time retaining that classic John Garcia DNA, Hermano wasn’t all about Garcia despite the fact his musical personality runs deep throughout all he touches. Hermano was always its own identity and dare I say more musically adept than Kyuss, definitely in the aspect of guitar solos and accompanying tasteful flourishes. Recently acquiring ownership rights of their early material, Hermano have set about remixing and remastering their classics, starting with Only A Suggestion released last year. In digging about in their past, the band, still involving original members Mike Callahan and David Angstrom on guitars and Dandy Brown on bass, and enduring drummer Steve Earle, have unearthed a treasure trove of long-buried artefacts, a handful now released as When The Moon Was High.
Two new songs open the EP, a pair of polar opposites in terms of energy. First single Breathe is a time warp looping back to the earliest Hermano releases: the opening meandering swell, mammoth bluesy groove punch, the layered verse lines, and fuzz-infused solo – in this one song Hermano announce they’re back and have lost nothing of what made them pre-eminent among the scene. John Garcia’s trademark croon still maintains its serpentine spiciness; when in full-flight rock mode such as Breathe’s chorus where he sustains that word breeeathe, the singer positively oozes out of the speakers. Garcia naturally dances the yin-yang between his particular throaty rasp coupled with gorgeous gravelly vibrato, and sultry breathy deliciousness that can momentarily force even the staunchest heterosexual man to ask questions of himself. Case in point, subsequent single Never Boulevard.
A stunning lesson in patience, Never Boulevard was birthed 26 years ago during the closing stages of 1998’s recording sessions and only recently finalised for this release. Wonderfully subdued, subtle, suspenseful, the second single offers a warmth and tenderness not rare but standing out among the big rock moments in Hermano’s catalogue. Never Boulevard is hauntingly beautiful; close your eyes and you’re overwhelmed with the sense you’re in the desert at sunset, sitting around a fire taking peyote, your entire existence flickering before your eyes like an old film. Providing a glimpse of the spectrum of prowess the band have at their collective disposal, these two new tracks immediately establish themselves essential to Hermano’s discography, and effectively render the remaining four live tracks basically as bonus material. But on closer inspection, they’re just as indispensable to Hermano’s story.
This never-before-released live material sounds amazing. I’m aware that studio trickery is a thing that exists but whatever, the production mix sounds incredible. Brother Bjork (recorded in 2004 at Willem Twee Poppodium) highlights exactly what a monster control over his instrument Garcia has: his control is phenomenal and is supported wonderfully by the soaring dive bomb backing vocal in the chorus.
Of the three songs recorded live at Hellfest 2016, Love is a gem of a lumbering monster and Manager’s Special translates as the mosh pit mixer it is, however pick of the bunch for me is Senor Moreno’s Plan, vibing from the get-go with a positively thunderous drum sound and abrasive guitar driving behind Garcia’s own caustic grind. Not only was Garcia a gorgeous man with stage moves for days, but god damn he had a set of pipes on him, and this EP stands as evidence that he’s lost none of that. This is the closest I’ve ever been to an incredible-sounding Garcia project live, and is a unique opportunity to experience Hermano crank out some old and rare tunes.
Normally I wouldn’t write about an EP purely because generally there’s not as much scope of material to be dissecting, but we’re talking about John Garcia: how do you not write about his output? Everything he releases is gold, all his projects from way back to Kyuss and through to his recent Band Of Gold, whose moniker is entirely apt. Hermano were and clearly remains as important in Garcia’s discography as anything else, and this EP offers the hope we might see a new full-length Hermano album in time. Now John, please please please factor in a remixed/remastered anthology collection from Slo Burn…
