To study Joel Gion is to study the mystery and history of rock and roll itself. Rock and roll itself is an element indefinable at its core, no matter how deeply one investigates either the mystery or the history – in fact, it’s likely to gain less definition the further one delves.
Joel Gion himself is an element indefinable at his core, no matter how deeply one investigates either his mystery or his history (be it time spent with The Brian Jonestown Massacre, the celluloid anti-hero working out some kinks in the documentary “Dig!” or simply his repeat rankings in the ongoing competition for “Coolest Motherfucker on Earth”) – in fact, he’s likely to gain less definition the further one delves.
With regard to his lush new eponymous album on Beyond Beyond Is Beyond Records, we should all be so lucky to suffer from such a lack of definition. If we take “definition” here to mean a rigid adherence to expectation and narrowness in scope, the album is almost void of definition completely. In its place, we find instantly invigorating hooks, we find an unhurried pace matched with an unworried tone, we find a captivating collection of California calm mixed with self-command, with General Gion standing at the helm of an army of talented musicians, flutes and reverb pedals at the ready.
<a href=”http://joelgionbbib.bandcamp/album/joel-gion”>Joel Gion by Joel Gion</a>