Ghost have been around for eleven years. Bet'cha didn't know that. Now you do. According to the All Music Guide, the guys in the band are rumored to lead sort of nomadic existences, "drifting from ruins of ancient temples to disused subway stations around Tokyo." While that sounds glamorous and all, I'm not sure it's really the case.

See, Ghost are relatively prolific. They usually unleash albums on us unsuspecting North American citizens in groups. Their American debut, the beautiful Lama Rabi Rabi, was released in the Spring of 1996. Ghost returned to the scene in 1997 with three albums: a decent self- titled record, Second Time Around (which is supposedly one of their best-- I still have to make it to the record store for that one), and a live album called Temple Stone. (Not to mention Ghost frontman Masaki Batoh's two solo albums.) Yeah, those were all released in 1997.

Now, for those of you lacking calendars, it's 1999, and Ghost are back with two new records: the incredible Snuffbox Immanence and Tune In, Turn On, Free Tibet. For the record, Snuffbox Immanence is the better of these two releases. (I reviewed it a couple of months ago-- check the archive for the low- down.) Tune In, Turn On, Free Tibet appears to be a more casual affair. This time around, the band seems less interested in arrangements and songwriting structure, and more into freeform psychedelia.

Free Tibet is, as could be suspected, more of that good ol' fashioned anti- Chinese propaganda that's so in style right now. The disc's liner notes even feature a lengthy statement regarding the current situation in Tibet written by the Dalai Lama's liaison officer (who, apparently, doesn't have a name). It talks about the usual stuff: oppression, ethnic minorities, severe deforestation, etc. But it's what's on the record that counts, isn't it? Okay, I'm getting to that.

The eight songs that comprise Free Tibet blend together in such a way that the album comes off more like one piece with eight movements. Sure, it wouldn't have hurt if they'd tossed a little more diversity in with these tracks, but what they've got serves its purpose well enough. The purpose, of course, was to record beautiful protest songs, a concept that's rarely been executed in indie rock. And they succeeded. These songs are beautiful and they do make valid points. The problem is, they just don't go anywhere.

Despite my endless infatuation with Snuffbox Immanence, Free Tibet seems more like an afterthought than a follow-up. There's a lot of sameness to these tracks, with the exception of the record's sparkling gem, "Way to Shelkar." The album's closer and title track is one of the best examples of this: it's a 34- minute- long ambient jam with little variation to keep the listener interested. Where's the inspiration, man? Where's the love, brotha? I wanna feel the love! I wanna hear the anger! Give us some emotion!

These guys are capable of recording fantastic drug music-- they are, without a doubt, masters of modern psychedelia. But if there's one thing the world doesn't need, it's another product with the words "Free Tibet" in its title. Instead, go grab yourself a copy of Snuffbox Immanence and find out why Ghost are being called "the new donkey sex."

-Ryan Schreiber