Goon Moon: Lickers Last Leg

Former Marilyn Manson member teams up with Zach Hill and the "Godfather of Desert Rock" to record a headscratchin' goofball rock album.

Goon Moon

Licker's Last Leg

Label: Ipecac
US Release Date: 2007-05-08
UK Release Date: 2007-05-21

Does the name Twiggy Ramirez rings a bell? If it does, you probably wish it hadn't. Twiggy, whose actual name is Jeordie White, was the guitarist and principal songwriter for '90s goth superstars Marilyn Manson. And although he spent most of the mosh-pit decade wearing dresses and overly-applied women's make up, Jeordie White has spent his formative rock years as a roving musician for countless non-cheeseball acts such as Queens of the Stone Age, Nine Inch Nails, and A Perfect Circle.

Perhaps adding a bit more to White's credibility is his Goon Moon collaboration with the "Godfather of Desert Rock" Chris Goss and machine-gun drum virtuoso Zach Hill. Goss is known for his work with Masters of Reality and Queens of the Stone Age, while Hill serves as drummer for noise rockers Hella, Marnie Stern, Mick Barr, and just about everyone else along the Pacific coast who needs a session drummer.

Through all these side projects White has not found his niche and he hasn't completely been able to shake his Twiggy moniker, but then again, maybe he doesn't want to. White's post-Manson work has been less cheese and more rock (Perfect Circle, Nine Inch Nails), but he still doesn't mind name-dropping the ol' Manson tag every once in a while, just to remind people how he got famous. It's too bad that he needs to associate with this image, because White has a insane amount of talent which will serve him well in some capacity at some point in the future -- it just doesn't quite do it here.

White and Goss started this project a few years back, releasing a mini-LP in 2005. Goon Moon is a spastically indecisive hodgepodge of musical flavors. The selections seem to span decades from polished NIN-ish rock to sunny '60s California harmonies and a even a '70s Bee Gees homage. The artists seem to be trying on a variety of different hats, while not quite sure they want to wear one at all. From the opening squeaks of "Apple Pie", it seems evident that we're in for an unorthodox musical experience, as White's cryptic couplets are regurgitated over some bongo and soft backing harmonies. Take the lyrics: "Count the sheep above your head / The end is near. We are the dead". Pretty bleak, right? Then comes: "Bake the children in the pies / Sip the tea. Watch your demise". That's just awful.

Licker's Last Leg then proceeds with "My Machine" and "Feel Like This", two pure stoner rock tunes which deceive you into assuming where the band is heading before "Pin Eyed Boy" breaks into some surprisingly tame pseudo-alt rock harmonies. Then there's the Bee Gees cover tune. As if to culminate the head-scratching, "Every Christian Lion Hearted Man Will Show You" provides us some sorely need Barry Gibb influence on this eclectic effort. "Balloon?" gives us a dose of familiar rock before we are assaulted with the epic track "The Golden Ball". This insane tune starts with ridiculous lyrics and sunny psych-pop harmonies. The track then meanders into eight different subsections which include everything from Jeordie White singing about his cats to a spacey kraut rock jam.

Goon Moon makes some ballsy moves on this, their first proper full-length album. The combo of Goss and White (along with Hill) doesn't seem to care much who approves of their eccentric stoner rock. Actually, I don't believe they even mind if anyone's listening. I guess those Marilyn Manson royalties are still paying the rent 'cause Jeordie White seems to be doing whatever the hell he feels like -- and good for him, he's earned it.


The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less

It's Chris Stapleton's grasp on the constant joys in life despite the troubles that makes his music essential and enduring.

This was a year in which it seemed everybody wanted to put out more than one album. From Future's back-to-back releases to King Gizzard and the Lizard Wizard's four (maybe five coming?) LPs, hyperactivity has been a definite key to success in our hyper-saturated music market. And although this marketing trick has seen most of its use in the hip-hop market, Chris Stapleton is here to show that it's just as effective in the country scene as anywhere. Just seven months removed from From A Room, Vol. 1, the ragged-bearded outlaw bard is back with another 32 minutes of heartbreak, folk storytelling, and of course, staggering vocal chops.

Keep reading... Show less

Nowhere else in the merging of modern cinema and film criticism can you find such a strangely symbiotic relationship.

Both Roger Ebert and Werner Herzog are such idiosyncratically iconoclastic giants in their respective fields that it's very likely the world will never see an adequate replacement for each. While Herzog continues to follow his own singular artistic vision, the world has since lost the wit and wisdom of Ebert, arguably the last of the truly great film critics and custodians of the sacred medium. Between the two it becomes clear that there was an unremarked upon but nonetheless present mutual respect and admiration. Though here it tends to come off far more one-sided, save the opening transcript of a workshop held at the Facets Multimedia Center in Chicago in 1979 hosted by Ebert and featured Herzog and a handful of later interviews, there still comes through in their dialogue a meeting of like-minded, thoughtful individuals with a great love for the cinema and exploring the extremes of human creativity.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.