Instrumental music is not for everyone. Still, lots of creative people enjoy it when they seek a vibe but not a vocal that might distract from thought or The guitar shredder–formerly with Rob Zombie/Marilyn Manson and currently with Mötley Crüe–showcases relentless spirit on his latest, ‘Ghost.
Still, lots of creative people enjoy it when they seek a vibe but not a vocal that might distract from thought or focused actions–like writing music reviews. I’m writing this one while listening to guitar virtuoso John 5’s latest,, and while it’s not exactly haunting, it is a harmonious aural experience which shows off fantastical fret and finger skills, as well as a fiercely focused heart.
to fully understand what I mean. On the show, the guitarist shares the shocking series of traumas that led him to delve deeper into the technical nuances of progressive shred-style guitar playing. The deaths of 5’s sister, father, mother, and best friend occurred within a short time frame, which led to multiple mental and physical ailments. He found that experimenting with and putting his mind and body intently into something he loved—his instrument—made things better. Listening to his latest material, you can almost feel the emotions as he works through them via every menacing riff and rhythmic repetition. The former David Lee Roth/Rob Zombie/Marilyn Manson axe man, who is currently filling Mick Mars’ boots in Mötley Crüe, also celebrates his beloved white Fender Telecaster on the title track, manipulating its strings with both heavy aggression and lighter whips of whimsy that feel cathartic. Not to be confused with the band Ghost or any of their output, which might share some aesthetic qualities, this buoyant and bombastic record is less about mood or morbidity, and all about highlighting metallic mastery, making a statement that doesn’t need words. Ten studio albums in, instrumentalism is 5’s thing and he does it well. There’s also industrial-style menace that could drive a dance floor with the right remix, and a showcasing of finesse with other genres, like bluegrass and old-timey jazz. “Moon Glow,” with Matt Bissonette and Marco Minnemann, makes for a sweet prelude to the bluesy and jam-like “You, Me And The Devil Makes Three,” which is touted as featuring his bandmate Tommy Lee on “hand claps and foot stomps.” A cinematic feel drives some cuts too, like “L.A. Express” and “Fiend” . Both conjure speed and excitement, meshing retro elements with futuristic flourishes that have the urgency of an action flick fight scene or car chase. “Deviant” might be the highlight here. With drum work from Jane’s Addiction’s Stephen Perkins, it’s the grooviest number on the record, and also the giddiest melding of musical maneuvers and pummeling personal stylings. has an otherworldly feel to it that won’t come as a surprise to 5’s fans. Though he prides himself on playing note for note from the iconic records he gets to perform on stage , he clearly relishes the freedom of noodling out on his own material. It’s a controlled yet cosmic chaos that brings to mind one of his biggest idols, Ace Frehley. in the world , 5 was also a close friend of Frehley. The recently departed Spaceman influences him heavily to this day, from the white face paint that graces this album’s cover to the grandiosity and grit of their playing styles. Beyond the occasional podcast appearance, it’s telling that 5 continues to communicate in an untraditional way on record, with no singing or lyrics, just licks, taps, picks, and the random sample. Though he is clearly inspired by guitar gods from the past, he is also consistent about forging new paths.evokes new levels of musical mastery, and a relentless spirit that despite some wild soundscapes, feels very real and very alive.
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