Cult US stoner rock band HERMANO (with John Garcia) to release new record "when the moon was high..." on Ripple Music; stream new track "Breathe"!

Cult Californian stoner rock band HERMANO (fronted by Kyuss vocalist John Garcia) announce the release of their new collection entitled "when the moon was high..." on Ripple Music this October 4th, featuring their first new music in fifteen years. Stream their brand new song "Breathe" on all streaming platforms now!

New album "when the moon was high..." brings the moons of HERMANO back into alignment. As they embarked on the remix/remaster/reissue of their entire back catalog on Ripple Music, a new song emerged: "Breathe". During this process, the band uncovered some valuable material while revisiting tapes, drives, and cherished memories accumulated over their 26 years of friendship. Taking back claim to the territory they had charted years ago, the upcoming limited-edition release of "when the moon was high..." features the first new music released by the band in fifteen years.

While the band had continued to write and perform on each other’s projects during the last decade and a half, "when the moon was high..." showcases the sticky-sweet and heavy blues riffs and tones that are unique to these five musicians when they come together under the HERMANO banner. The new single "Breathe" was recorded in 2023 and travels back to the band’s first release, filled with the same swagger and heavy hand as the band’s initial offerings, reinforcing the band's undeniable impact upon modern heavy rock, stoner rock, and driving blues genres.

 Watch Hermano's new video for "Breathe" + listen to the single on all streaming services

Written for the first HERMANO sessions, the album's second track "Never Boulevard" was tracked during the last few hours while recording in Cincinnati during the winter of 1998. Rediscovered while organizing the master tapes for the Ripple Music reissues and utilizing the original core tracks, the band has finally brought the song to completion twenty-six years later.

Rounding out the limited-edition are four never-before-heard live tracks that again underline the unique place in heavy blues music HERMANO occupies. "Brother Bjork" serves as more evidence to the band’s stellar performance at the Willem Twee Poppodium in 2004, a show that continues to be hailed as one of the finest the venue has ever hosted. Taken from the last time the group came together to perform, "Senor Moreno’s Plan", "Love", and "Manager’s Special" all give a special glimpse into their lauded reunion at Hellfest in 2016. After eight years of not performing together, John, Dave, Mike, Chris and Dandy arrived a couple of days before the festival, rehearsed for a few hours, and came with a head of steam that left those who witnessed the event both touched and amazed. "when the moon was high..." not only features a small sliver of that legendary performance, but also introduces the only existing audio recording of the band’s song Love.

“We are so incredibly thankful to be able to bring new music to both new fans and those who have followed Hermano for the last twenty-six years. We are eagerly looking forward to continuing this reissues and special editions journey with Ripple Music, so hang onto your hats because we have a lot more coming and a long way to go. Breathing new life into our catalog and having the opportunity to release special new music like "Breathe" is an especially 'dream-come-true' time for all of us. For that, and to all who have continued to stay interested, thank you.” - John, Dave, Mike, Chris and Dandy


HERMANO "when the moon was high..." - Out October 4th on Ripple Music (limited LP/CD/digital)
Preorder available now

TRACKLIST:

1. Breathe
2. Never Boulevard
3. Brother Bjork (live at W2)
4. Senor Moreno’s Plan (live at Hellfest)
5. Love (live at Hellfest)
6. Manager’s Special (live at Hellfest)

The story begins twenty-four years ago in a second-floor apartment located in Covington, Kentucky. The details are of a band that never was... There are those who already know the story. They remember the first time they heard about HERMANO, the whispers of a super-group that had tracked an album backed by Frank Kozik and set to be released on Man’s Ruin Records. When Kozik’s label closed shop before the album could be released, those who knew of the project waited through nearly four years of hurdles and contractual obligations to be cleared before they could hear an album that not only lived up to its promise but also established itself as one of the most influential heavy blues (aka stoner rock) collections ever recorded.

The legend of HERMANO is well documented, found in publications far too many to count when the group was most active a decade and a half ago. To summarize those accounts, Hermano first formed when David Angstrom (Supafuzz), Steve Earle (Afghan Whigs), Mike Callahan (Disengage), and John Garcia (Kyuss) agreed to lend their talents to the session's producer Dandy Brown had scheduled for December of 1998. Coming together for the first time in Cincinnati, the initial riffs that Brown had constructed were arranged by the newly formed group and would become the foundation for the band’s debut album "Only a Suggestion". It is also well documented that before entering Ultrasuede Studio in the winter of that year, the members of the band had never been in the same room together, but with the very first notes they played there was a realization that they had struck upon something special: a musical outlet for each of them where egos were absent, the core of their creativity was free from industry pressure, and where they would quickly develop friendships that would become the central force behind the band.

Over the next decade, HERMANO would go on to release three studio albums ("Only a Suggestion", "Dare I Say" and "Into the Exam Room") and a live record (Live at W2) showcasing the force the band had become in the heavy blues market. Embarking on a series of now-legendary sold-out live performances in the United States and Europe, Hermano continued to grow a legion of dedicated fans and critical acclaim. Following the European tour in support of their debut album, Steve Earle’s departure to pursue his solo project opened the door for veteran drummer and lifelong friend of David Angstrom, Chris Leathers (Supafuzz), to step in during the band’s performance at FestiMad in 2004. Performing on the band’s next two studio albums and their live release, Leathers addition to the group cemented another chapter in the friendships established during the group’s formation six years earlier.

Recording albums and touring when they wanted to, not because they were contractually obligated to spend months on the road or in the studio, HERMANO quickly became known as the greatest band that never was, a tongue-in-cheek tip of the hat to the impact and influence of a band that consistently refused to operate on anyone’s schedule other than their own.

Six years removed from HERMANO’s last live performance at Hellfest in the summer of 2016, the band has acquired full ownership of their entire catalog and has committed to sonically updating the collections through remixing, remastering, and reissuing their three studio albums and live collection with San Francisco-based Ripple Music. The first reissue "...Only a Suggestion" was released in the fall of 2023 and was entirely remixed by David Barrick (Black Stone Cherry, Kentucky Headhunters) and mastered by Ty Tabor (King's X).

HERMANO line-up:

John Garcia – vocals
Dandy Brown – bass
Mike Callahan – guitar
David Angstrom – guitar
Chris Leathers – drums

RIPPLE MUSIC links

Website ⎪ Facebook ⎪ Bandcamp ⎪ Instagram

Thanks to Purple Sage PR for all of the info.

John Garcia - The Coyote Who Spoke In Tongues (Album Review)

Release date: January 27th 2017. Label:Napalm Records: CD/DD/Vinyl

The Coyote Who Spoke In Tongues – Tracklisting

1. Kylie

2. Green Machine

3. Give me 250 mL

4. The Hollingsworth session

5. Space Cadet

6. Gardenia

7. El Rodeo

8. Argleben II

9. Court Order

Review

Well, this new year of reviews could not start better.

I had the chance to listen and review the very first acoustic album of John Garcia, The Coyote Who Spoke in Tongues, released by Napalm Records. John does not need any introduction. John is THE voice of the desert and of an entire generation (and maybe more) of artists who have found to deal with giants as Kyuss, Vista Chino, Slo Burn, Unida, Hermano and so on. Anything John has done since the days of Kyuss was a masterpiece, nothing more, nothing less. Thus, you will excuse me if this review will be anything but impartial.

The Coyote Who Spoke in Tongues is a very intimate experience of the artist, floating between new songs and classics (revisited) Kyuss masterpieces, such as Green Machine, Space Cadet, Gardenia, El Rodeo. In this adventure, John Garcia was accompanied by the guitar of Ehren Groban (War Drum), the bass of Mike Pygmie (Mondo Generator, You Know Who) and the percussions of Greg Saenz (the Dwarves, You Know Who).

The album opens with Kylie, which moves between lively atmosphere broken by moments of greatest insight enclosing a romantic soul when, about halfway, the song slows down and fills with more intimate atmosphere, thanks also to the use of synths. Although the second track of the album is a classic of Kyuss, Green Machine, I would go ahead and leave later my comments on the revisited songs from the Kyuss era. Give Me 250ml, the second unreleased of the album, reminds me to a kind of country/blues Western song, while The Hollingsworth Session dates back to more dynamic atmosphere seasoned by the use of piano. Argleben II and Court Order, the last two unreleased of the album, show the more thoughtful and relaxed acoustic side of the songwriting, where slower rhythms transmit feelings of melancholy and distension.

But...go back to the old glories of Kyuss, totally revisited in their acoustic version. Well, I never thought these songs could be so rearranged as to seem, in some cases, completely different songs. When in late 1992 the Kyuss released Blues From The Red Sun, Green Machine, the second track written by Brant Bjork was undoubtedly one of the reference songs of the album. When in the same year it was released as single, the back of the CD case said that “[...] They [aka Kyuss, nds] certainly look like something straight out of a worn promo shot of crazed sixties decibel barbarians, Blue Cheer and sound that almost unbelievably [sic] at times like a street punk version of the original Black Sabbath”.

Well, the acoustic version of Green Machine is something completely different. The skill of John in rearrange the old glories of Kyuss made Green Machine a slow and deeply intimate song that, at least in my case, excited enough to make me shudder. All remaining tracks move in the same direction, and it was nice to see songs spanning from Blues For The Red Sun to ...And The Circus Leaves Town.

The Coyote Who Spoke in Tongues is, certainly, an album that old fans will love for its ability to evoke the desert atmospheres that many years ago came as a bolt from the blue, upsetting many of us. At the same time, younger generations will appreciate the true meaning of stoner/desert music, which goes behind tuning in drop C. It is a matter of attitude.

Words by Bruno Bellisario

Thanks to Mona and Andy at Napalm Records for the promo. The Coyote Who Spoke In Tongues will be available to buy on CD/DD/Vinyl via Napalm Records from January 27th 2017.

Links:

Official | Facebook | Twitter

Speaking In Tongues - An Interview With John Garcia

John Garcia is perhaps one of the most distinctive voices from the Desert/Stoner Rock era. John has had an action-packed career fronting some of the most iconic Stoner Rock bands such as Kyuss, Unida, Slo-Burn, Hermano and Vista Chino.

John is about to release his stunning new album – The Coyote Who Spoke In Tongues. A very different affair to his acclaimed 2014 debut album. The new album is an Acoustic Record where the mood is very relaxed and chilled out. Very different compared to John's legendary musical output.

John has also reformed Slo-Burn for some European Festival Dates later this year. I was given the chance to interview John Garcia recently and he provided me with a very cool and honest interview which you can read below....

Hi John. Thanks for doing the interview. How are things with you today.

I'm doing OK. Just trying to keep it altogether on a Sunday morning.

So we are here to discuss the new album – The Coyote Who Spoke In Tongues. Such a great record and very different to your self titled album. What can people expect from the new album.

Thank You. Too kind. One it's an acoustic record. It's quite the departure away from a full live project with Mike and Greg on bass and drums. Plus Aaron on Guitar. It's little a bit of a departure. They can expect to twist one up and sit back with your lady. Put the record on and chill. That's typically what I did when I was writing the record with Aaron.

We were in Aaron's living room in Palm Springs. It's just a chilled record.

Was it an easy decision to release an acoustic record for your next record.

First it was Steve. It was a very easy decision. Though once we got into the rehearsal room or his living room as you will, it didn't turn out easy as we thought. There's nothing to hide behind. As there's just vocals and guitar. There is some percussion in there and some bass in there. It's nothing like a full blown electric record.

Decision was easy. Doing it was another task.

Your 2014 debut album perhaps included some of your heaviest material to date. Did you want to go back to basics for the new album.

It was the original intent. When I first had the idea of doing an acoustic tour – I said to Aaron – Hey Aaron what do you think about doing this. Aaron said – Yeah, lets try it out. We went to the rehearsal room after all. The thing that got me the most was – It was a challenge. I love it when a song or project will challenge me. Almost to the point of it saying – You can't do this because it's too hard.

I love when something so emotional like these collection of songs spoke to me by saying – Hey man. You're never going to get me. You'll never be able to do this.

I thought what a challenge like Green Machine and Gardenia in a laid-back manner. My team of people working with me – Harper Hudd and Robbie Waldman who are both my producers. Steve Feldman another one of my producers. I work very closely with these guys as well as Aaron. We thought if we are going to do an acoustic record. Let's really change it up. Lets really examine these songs underneath the microscope. Make them like the originals. I think we achieved that.

I loved doing this but I also LOVED TO HATE IT. It was a really challenging record.

You've included recordings of Kyuss classics - Green Machine‘, ‘Space Cadet‘, ‘El Rodeo‘ and ‘Gardenia’ onto the album. Did you record any more Kyuss tracks.

No. That was it. There were a few of them that Aaron and I scrapped. What you hear on the record is what we strived to do. There were a couple of them that didn't make the cut. Journalist folks are asking me why your re-hashing you old songs. I told them it's a challenge and they're fun to do. I still like performing these songs to this very day.

Even though I'm 46 years old, it's still fun for me to get into an rehearsal studio and sing. All my spare time is devoted to it.

Why not use them. They're your songs. It's what your mainly known for. So why not sing them.

Agreed. I'll keep on doing that until the old ticker stops.

Though I do dig the new tracks especially Kylie, The Hollingsworth Session and Court Order. Did you write the new songs specifically for this album or did you have them lying around for a while.

Court Order was definitely was written for this record. Kylie was written for the last album. We decided to record it acoustically and it sounded better. We are going to do an electric version of Kylie soon. You may see these new songs pop-up again sometime in the future electrically. Mainly for my next record.

Where did the name “The Coyote Who Spoke In Tongues” come from the new album. Any specific meaning.

There's a big meaning to that one and it's really a personal thing. Being from the desert and I hear coyotes on a nightly basis. They'll keep me up in night and the way the communicate with each other is an amazing act of real nature. I'm in awe by it. It's very fitting for a person like myself. It was just a very fitting name.

The album is being released by Napalm Records. Just like you past two records. Solo album and Vista Chino. Are you looking to continue your relationship with Napalm or you looking for new opportunities.

No. I like Napalm Records. I really love my label and they treat me really well. They always have and treat me with a lot of respect. They care. They actually care. Some bands don't have that with their label. My relationship with Napalm couldn't be better. They treat me fairly and that's all I ask.

I think we're a good match for each other. Sebastian, Thomas and Mona over at Napalm. The whole team people behind me working on this project. It's not just a job for them. It's their passion. People seem to know me as this BIG ROCK GUY but this acoustic record is a major departure from all that. It's a chance for me to broaden the audience and reach new people.

There's something to say about growth. I do want growth as this is a business. Even though I don't make millions of dollars being a musician. I still have a full time job working at an Animal Hospital. I work as a Veterinary Technician for 3 Doctors. It's still fun for me and I will still be doing it regardless even without the money. It needs to make sense. I believe artists should be compensated for their work. I'm a firm believer in that. I rarely see any money from record sales. It's all about touring and even then it's miniscule. Thought it's still fun.

Slo-Burn will be performing at Freak Valley 2017. Let me tell you I've been hounded by my friends asking more about this. Is this a one-off appearance. Will you be doing more gigs or tours in the future. Any potential future releases or is this too early to tell.

We will be doing a handful of shows in Europe. Probably 7 or 8 shows in Europe. Then we will see what happens. We're still friends and we've been talking about doing this for years. I like surprises. Not only at Freak Valley. We are also doing Hellfest and a couple of club shows as well. Everything is all set for that. Guys are already rehearsing and I will be rehearsing soon.

It's taking years in the making for this to happen. We're going to have some fun. That's the main reason behind the reunion. We want to have some fun and share the stage with each other again.

The whole response has surprised me since we announced the news.

Obviously your mostly associated with Kyuss. Unida, Slo-Burn, Hermano amongst others. What's the latest involvement with Unida and Hermano.

I'm very content with the direction I'm going in now. My main focus is my solo career. These little one-off shows are just things to keep me busy and relax with a bunch of good guys to play some music.

Photo Credit by: Richard Sibbald

Looking back over your incredible career over the last 28 years or so. Has it surprised you the journey your music career has taken you upon.

Yes. Absolutely. What a journey it's been. It's been a lot of ups and downs. Though mainly ups. I'm very lucky to be even talking to you about music. I appreciate that. People can still buy records and see there's this great band by the this dude called Josh and he's got these Desert Sessions.

Nick started this and that. Brant was in Fu Manchu and started that other new band. I started Slo-Burn. I love the history of it all and the desert as I'm still residing here. I'm still able to create new music with other Desert based musicians. I'm very lucky and it's something I don't take for granted.

Talking to you over the phone discussing this stuff blows my mind. I appreciate it.

What's your verdict of the current Desert/Stoner Rock scene. Do you follow bands who say their inspired by your work.

I don't listen to a lot of new music. I search if someone recommends something to me. I very rarely find something new that I enjoy. I'm listening to a lot of Jazz at the moment. A lot of Coltrane. It's relaxing to me. I get a lot of that stuff when I'm on the road and even when I'm in my own car. I still listen to “Oldies” Radio Stations. The majority of my life recently I've been listening to 60's Rat-Pack music. Frank Sinatra and that sort of thing.

I will then go from Jazz to something a bit more modern. I'm listening to Gnarls Barkley with Cee-Lo Green. The first record is called Saint Elsewhere. I still listen to that album and it's amazing. It goes from Jazz to other elements.

There have been two documentaries released this year. Desert Age and Lo Sound Desert. I was surprised you weren't involved in any of those films. Were you asked to be apart of those films.

Yeah I was. To be quite honest with you. I think the whole Desert Scene is over-hyped. This is my point of view as still as a musician who lives in the desert and who never left the desert. I'm still here. I think the Desert Rock scene got a little bit overhyped. Partially the fault is the people who reside here. I think it got a lot of overhyped. If you want to write about a music scene then you should probably visit Seattle and talk about that music scene.

As the music scene down here was really guys out of sheer boredom and wanting to play music. Mainly to find the means to do it. There were no clubs here. So what do you do. Any necessity to do it. Necessity is the mother of all inventions. It was a necessity for us to play the music. We had to. We found a place to play. Why did it become so famous and legendary due to these generator parties. People saying how mystical it was. It was a house party.

People have these all the time. If it happens to be in South London or Nebraska. People are going to find a place to play music. It happens all the time. I don't know why this scene got more blown up than the other scenes. It was partially down to musicians based here. Kyuss mainly. These were just high-school parties. They're exactly no different to other high-school parties. Absolutely no difference at all. The only exception they were played in the middle of the desert. People are always going to find a way to play music. It got blown out of proportion.

I just think these writers and producers didn't want to hear that. They wanted to keep it legendary. They wanted people to say how awesome and mystical it was. They want people to say how cool it was. You know what Steve, I don't want to be FUCKING COOL!!!

I don't want to be any of that. I'm a father, a husband and I bust my ass for my family. I bust my ass to play music. People get over-excited about making a name for themselves and for the Desert Rock scene. I'm passionate about what I called my DESERT. Letting it be is totally fine by me.

My final question is – Does it surprise you that people still hold Kyuss in such high regard. Even 20 plus years since you guys split up.

Yes. It does. I'll always be known as the singer from Kyuss. I'll always appreciate that. People are passing Cassettes, CD's and MP3's of Kyuss from one generation to the next. They will say have you heard this and put on Green Machine. People say – Who the hell is this band. That's the reason why the music is still alive. People pass the music back to one another. They continue to share music. I really appreciate it. As it keeps my career going.

I'm a realist. I'll give credit where credit is due. Kyuss is a big part of my career. I appreciate people are still buying records and still listening to the music. It keeps my career going. I don't take this for granted at all.

Thanks for doing this interview John. Been a real honour talking to you. Best of luck with the album. It's a great record.

Thanks very much and I appreciate your kind words. So thanks again.

Words by Steve Howe and John Garcia.

Thanks to John for doing this interview. Thanks to Andy and Mona at Napalm Records for arranging this interview. The Coyote Who Spoke In Tongues will be available to buy on CD/DD/Vinyl via Napalm Records from Jan 27th 2017.

Links:

Official | Facebook | Twitter