Masaki Batoh

With his return to the fold of psychedelic folk (with a turnoff into blues last year) Ghost’s Masaki Batoh has reestablished himself as a master of the craft. Not that I’d ever had any doubts about Masaki’s prowess, but its nice to hear him embracing the delicate vibrations that result in melancholy bouts of rarefied air once again. While his work with The Silence has seen him reconnect with legendary psych drummer Okano Futoshi (Acid Mothers Temple, Cosmic Invention) he shifts to yet another high profile name for this record, letting Hiroyuki Usui (Ghost, Fushitsusha) create a lilting, skittering backdrop to his verdant vignettes. Often Usui holds back, framing Batoh’s work in shifting winds of sound, but there are moments when the percussionist acts as a perfect foil for the songwriter, as on “Speculum” in which the two artists play off of one another with graceful elegance.

Largely Batoh has shirked the lonesomeness of Nowhere, at least in the studio, inviting other members of Ghost and The Silence into the sessions. Though, musically, this record still leans into the solitary winds that he explored on his last LP. Likewise there’s an embrace of fluidity in language, with not only English seeping into his repertoire, but Spanish and Latin this time as well. Batoh doesn’t cobble his influences haphazardly, though, and the language shifts and instrumentation (which ropes in flute, piano, lap steel, saxophone, contra bass) gives the album a tapestry quality that’s meditative, if not also rustic. With the exception of a dip into heavier pscyh on the closer, Smile Jesus Loves You feels like the hermetic album he’s been longing to make, even if there are friends nestled in his cave this time. The mountain winds, and sunrise hues are rampant, and ultimately quite welcome. If Nowhere whet your appetite for more haunted folk from the master, then this will help quench the ache.



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