The Brian Jonestown Massacre - Thank God For Mental Illness

Many are sick of this 60's revivalist movement that's infiltrated the American music scene and with good reason. Most of it can only claim to be a half-hearted regurgitation of a very influential sound that has since evolved. Shouldn't this be considered a huge step backwards? In some regards, yes, because few have convinced us that they're worth their salt and done anything new with it. We wouldn't be so accepting of a new man in black rewriting Johnny Cash songs and claiming to be the 21st century jesus, would we? That said, we really can't neglect some exceptions..


Meet The Brian Jonestown Massacre, a band of musicians dogged at every turn. With more than 40 members having come and gone since its inception you would assume their sound would have to be a train wreck but Anton Newcombe, the brainchild of the entire outfit is an entirely different breed of musician. It's been said that if he could clone himself ten times over and exist as one solitary band he absolutely would. He has a vision, an idea, an ever churning factory of beautiful sound he absolutely can not compromise on. His ability to play over 80 musical instruments masterfully is a testament to that. This has, of course, created conflict and many see him as a despicable character, myself included. I've personally felt his wrath and it should be unforgivable on some people's counts, but it's so hard to neglect what he does so well.

Anton has been hailed as the true father of the revival, the man who doesn't just love this era of sound, he lives in it. Let's listen to the flood of impassioned harmonica on the track 'Ballad of Jim Jones' and the verse "I walked from New York and back from L.A. I lived on a mountain and once by the bay," we get the feeling we're listening to a man out of place and time. These words aren't meant to be entirely autobiographical but they do ring true and he embraces this freedom loving lifestyle. A man who makes good on the words that he writes, not having any true home, just his entourage, his travelling family. There are definitely those who call Anton the worst kind of plagiarist, I couldn't disagree more. He's laying out the tune of his soul and that's all that could be asked of any musician anywhere. Perhaps it's this chaotic form he embraces which hinders the band's ability to achieve any level of success but upon listening to any one of their albums it's apparent that any element of control or organization forced on them just might tip the scales and sour something brilliant.. What has fueled and maintained the band's existence for such a long period though is Anton's fresh ability to bring these sounds about in an updated form, forging two eras of influence seamlessly.

The band's proudest moment may perhaps be the recording of 'Thank God For Mental Illness,' an album that cost 19 dollars to make, "including cab fare." It's a work that is so raw and brimming with spontaneous mayhem and brilliance it captured me from the very first track. We're treated to inspiring and punchy 60s pop folk fare at its very best while crossed with the experimental tendencies of spacemen 3 and even traces of glam goodness along the lines of T. Rex. Not to mention the contemplative 30 minute plus track 'The Sound of Confusion' blending lo-fi recordings of city life with subtle drone rock to cap the fountain of Anton's endless inspiration, it's a strange way to end an album and took a bit of courage to dive into but I was strangely surprised with the end result. Is it for everybody? Absolutely not. Having discovered this album during a very long and ponderous greyhound bus ride, I can say with certainty that I wouldn't trade it for a thing.