The album is not just formidable, but incredibly executed. The songs seems to be the creation of a very delusional artist out of this world, and the guitar lines are spirally contracted to breath over a planetary discussion of sonorous cohesion. With a poetic vibration that standardizes overtly cleansed spiritual harmonies, the melodies are so genuinely stricken that you feel comfortable listening to them all the way through, as they seem to know the proper way to your heart, in an unforgivingly right pathway to the emotional staircase of an unbound elemental collision.
With small elements stolen from smooth, wild and southern rock, The Coyote Who Spoke in Tongues is a major achievement in technical, spiritual and artistic aspects. With beautifully consecrated tracks, the record alternates between mood, emotional and elemental songs, and more unpredictable, encircled and harmonically conscripted ones, almost ballad driven, but always with a very desert rock feature densely impregnated into it. Although I haven’t found the album to be a masterpiece, it certainly gets close to it. Filled with a powerful energy – even in calmer songs – from the beginning to the end, The Coyote Who Spoke In Tongues is a major record, that has all the chances to elevate John Garcia to the status of a legend, no doubt about that.
With colorful guitar lines, vigorous and precise rhythms, a major sense of breakable and twisting functional notes, a superbly wild rock mood and sensible walls of melodic superiority, this album certainly can be regarded as a trademark of the genre. Precise, beautiful, aggrandizing, intuitive, genuine and very honest, The Coyote Who Spoke In Tongues aggregates a major set of elements into the genre, reworking in a very audacious new platform the very good, elemental and old components of traditional southern, wild and desert rock, giving us a major album as a final result.