FUNERAL MARIACHI

This is the Sun City Girls' final album, following dozens of freakishly eclectic releases over nearly 30 years. Charles Gocher, the band's drummer also known for his crazy spoken word performances, was dying of cancer while this album was being created, and the mournful tenor of the work reflects this. Gocher's work, if present at all, is extremely restrained. Aside from the hyper opening track ("Ben's Radio"), this album explores the band's contemplative side, focusing mainly on Arabic musical themes (always the band's forte) and Ennio Morricone - styled instrumentals (mostly original, though Morricone's "Come Maddelena" is covered here).

"The Imam" uses acoustic guitars to make koto-like sounds, with gently chanted vocals. "Black Orchid" is a mournful funeral march with a strong Arabic melody. "Holy Ground" reminds me of late 60s jugband psychedelia like you might hear from the more serious work of the Fugs or the Kaleidoscope. The Morricone cover "Come Maddalena" is achingly beautiful, understated and very gentle but possibly the most emotionally powerful moment on the album. "Funeral Mariachi" has a late-night jazz ballad feel to it, thanks to stellar trumpet work by guest David Carter -- this track has the same sort of lonely beauty as King Crimson's song "Islands". "This is My Name" is stylistically similar to "Holy Ground", but ups the ante with some odd droney parts with guitar feedback. "Vine Street Piano" is another favorite of mine, another gentle cinematic instrumental led by a lovely piano melody - it's minimalistic beauty reminds me of something off Eno's Another Green World. "Blue West" has a clear Morricone influence, sounding like a theme for a spaghetti western, extremely effective.

This album proves convincingly that the Sun City Girls could play with finesse, a trait not always evident when navigating their wildly experimental prior output. But in some ways, it's the perfect cap to a career built on surprising people.