Photo Credit: Mauricio Alvarado
The Brian Jonestown Massacre (or BJM) is adored by a subculture of rock-n-roll fans and supporters alike, all the while completely unknown to consumers of mainstream pop [corporate-marketed target audiences].
Despite a notoriety of lingering uncertainty and complexities that seem to precede frontman Anton Newcombe, BJM’s venerated iconoclast ensured the nights’ performance was an experience in sound-wave saturation [move over ‘Hemi-sync’!!!].
Christened with music genre labels like “Alternative;” “Shoe gaze;” or some neo-experimental “Psychedelic rock” in associations by comparisons to The Velvet Underground, [etc], The Brian Jonestown Massacre is a rock-n-roll band that has remained ardently [and yet sometimes perilously] focused on creativity. . .“Flow”].
With a myriad of press reviews and youtube video clips online [including three mini-docs] that anyone can pursue for a deeper dive into BJM, the band has had its share of “mixed blessings.” Most individuals are primarily antagonistic towards Anton Newcombe, however upon closer look these dissenting reviews are nothing new to rock-n-roll [e.g., SAMO phrase comes to mind (Jean-Michel Basquiat)].
While lead vocalist and founder Anton Newcombe’s past-seemingly nihilistic antics may have at one-time ensured BJM will not detour away from the “road less traveled,” the artist [complicated (or not)] has been consistent about individual and creative sovereignty.
“Juxtapositions” or “relationships between things” and an almost religious devotion to work-ethic in search of “the purple patch” key sources of inspiration [Newcombe, 2025].
In hindsight, it’s no stretch of the imagination that Newcombe was on to something about corporate sponsored contracts and the kinds of faustian pacts presented in legalese [e.g., “In perpetuity throughout the universe”].
Until present most artists could remain ignorant or naive about their Rights and Legal Protections for Intellectual Property, Licensing, (etc.): however, musicians have always had to learn and understand these things since the origin of rock-n-roll. Only recently can the broader public gain insight into the masterful contributions of guitarist Mick Ronson before and after the (18) months lifespan for the Spiders from Mars [e.g., while the phoenix ‘Ziggy Stardust’ had arisen the pinnacle of rock-n-roll acclaim the band were cheated out of performance royalties by then Manager Tony Defries]. It’s only now we all know about the hardship experienced by the Ramones despite their impact on a whole new emergent vein of the music industry [and contemporary rock-n-roll]. We all know now too about Elvis and conman Colonel Parker; the trickery used against keyboard extraordinaire Ray Charles; the control mechanisms to hinder that daemonic God Father of Soul James Brown [Etc. (etc.)]. Newcombe’s BJM never did to his band members what Jello Biaffra or Penny Rimbaud did to their own sojourners despite all the bluster: sheer hypocrisies over the almighty royalty check$$$. Nonetheless, as curious minds delve into the music influences on BJM an eclectic concoction of music genres emerges including 1950-60s synth-pop.
Regarding any “tortured soul” [artists included] it’s equally fair to herald the title of BJM’s 5th album Thank God for Mental Illness (1996). There will always be critics and opinions about a band’s creative output/ discography, live performance, and the kinds of lifestyles lurking backstage for one or more bandmembers. Maybe “cancel culture’s” more recent acquisition ‘Brookes Nielsen’ [The Growlers] summarized some of the hidden pitfalls backstage best in “Monotonia” (2017): it’s not a matter of public opinions.
Whatever combination of environmental and individual factors [Gen X/ genetics/ physiological temperaments/ ] The Brian Jonestown Massacre has thrived among its fanbase despite traversing the subcultural divides.
If you’ve ever wondered what being elevated off your feet in a sea of sonic soundwaves in swirls of feedback droning adjacent guitars with everyone else’s actions onstage building out layers of hypnotic rhythms: as an audience member you will discover being at the right place at Brian Jones Massacre. The unmistakable voice of BJM’s Anton Newcombe is your experiential guide across this phenomenon of ‘wave interference’ conjured as an interplay between live performance and seamless kaleidoscope of displaced energy in sound. The live-performance by the current BJM line-up [Anton Newcombe (lead vocals); Ricky Maymi (guitar); Hákon Aðalsteinsson (guitar) and Joel Gion (tambourine) true to form produced a wall of energy as if each band member were performing with the arms of Shiva itself.
For longtime fans, this felt familiar and comforting; Bringing a bang to the stage by starting off with a classic song:
“Whoever you Are” (Give it Back! 1997)
While there were minor issues with the sound board technicians, it turned into a fun night of fans going back and forth with the inside joke of screaming out “More reverb he needs more reverb”
While the crowd bursted out with laughter and applause, Ricky Maymi responded
“No no he doesn’t need more reverb, most times we learn as we go”
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