Dark precision and shapeshifting.
Known for his tenure with Mötley Crüe and Rob Zombie, John 5 (born John William Lowery) has established himself as one of the most “in-demand guitar players on the planet” (via Spotify). His newly released album, Ghost, further pushes that reputation, showcasing not just technical prowess but also emotional range.
Ghost opens with a chilling declaration — “We are all evil in some form or another”—sampled from serial killer Richard Ramirez’s recorded interview, setting the stage for a project that feels more like a sermon than a performance. A low, menacing hum builds beneath the voice, followed by an electronica-like sound that immediately commands attention. This sets the atmosphere for John 5’s signature fusion of theatrical showmanship and technical precision.
The second track, “Deviant,” slides in seamlessly after the ominous intro, settling into a steady thump that fuses industrial menace with instrumental finesse. The guitar tones are sharp yet melodic, each riff unfolding like a deliberate act of aggression. On the third track, “Strung Out,” the album dives into more electronic textures, humming with intensity and echoing the soundscapes of “Wicked World.” Around the 1:50 mark, the drums hit heavier, merging with the guitar in a visceral rush that sends chills. It’s the moment of pure synchronization.
“La express” switches focus, driven by drums rather than elaborate solos. It’s a percussive shift that grounds the album before “A Hollywood Story” slows the pace with melancholic precision. The track’s layered build mirrors a cinematic crescendo, where each note lands with control. In contrast, “Fiend” roars with fury — tighter, angrier and unrelenting. “The Ghost” follows with eerie restraint, beginning with low bass and creeping suspense before unfolding into full-bodied riffs that feel like an exorcism in progress.
Then comes “Moon Glow,” an unexpected yet welcome departure. It’s jazzy, with an almost bossa nova rhythm that introduces warmth without dulling the album’s edge. The track highlights John 5’s versatility, proving that experimentation and cohesion can coexist. The transition into “You, Me and the Devil Makes Three” feels natural — a return to menace through an upbeat, punk-inspired lens reminiscent of the Ramones and New York Dolls. Lastly, the finale, “The Executioner,” opens with the toll of a bell (literally). It’s theatrical and unnerving, evoking a sense of dread that encapsulates the album’s tone. The guitar swells, the tempo builds and the record ends as it began — with dark grandeur and precision.
Ghost is less about haunting and more about transcendence. Each track blurs boundaries between genre and mood, fusing menace with melody. It’s a record that reminds listeners that John 5 is not merely a guitarist, but also an architect of atmosphere.
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