The Unclaimed - Creature of the Maui Loon (2024)

L.A.'s own Garage Kings, THE UNCLAIMED, return with a brand new LP, the first since 1989's "Under The Bodhi Tree." Their mix of Garage-Punk, Folk, Surf & Tiki culture, reverberated guitars and snotty vocals has made this legendary band unique since their debut 7" "Moxie" EP, reissued on Teen Sound Records. Following on the heels of the digital release of that EP along with extended versions of the LPs "Primordial Ooze Flavored" and "Under The Bodhi Tree," their new album manages to expand their musical palette while remaining true to their sound.

For the benefit of those who may not know already, the first thing to say that pertains to the story surrounding this newest, long anticipated effort by Californian garage and teen punk legends the Unclaimed is that, unfortunately, this is to be the final album by the Unclaimed group as they were, as not long before the record was due to be released, in March 2024, news came through of the tragic, unexpected and sudden death of the group’s undisputed leader, founder, songwriter, guitarist and lead vocalist Shelley Ganz, who was found dead at his home in Los Angeles on 24 January 2024.

Misty Lane’s Teen Sound imprint had already honoured the group with deluxe vinyl editions of their seminal ‘Primordial Ooze Flavored’ mini-LP from the early 1980s, as well as a newly “claimed” definitive version of the ‘Under The Bodhi Tree’ set first issued in 1991; Shelley and the group using the alter-ego Atilla & the Huns for this release on Germany’s Music Maniac label. In more recent years (after the initial lifespan of the group came to an end) and following Shelley Ganz’s extended period of self-imposed isolation he, alongside new partner-in-crime Patrick Cleary, lead guitarist and fellow songwriter, reappeared from out of the shadows and set about establishing a new line-up of the Unclaimed. Before long, the group were back into putting in serious hours of rehearsing and creating new songs, also performing a series of live gigs in and around their Los Angeles base, and keeping a look out for labels that would be interested in issuing their new records. They had hoped to find a label in the U.K. so they could set up a European tour that would include some British dates; something that was on Shelley’s mind as a dream to fulfil. Alas, that dream didn’t come true, but in 2019 Portugal’s hip Groovie label offered to release their new EP ‘You Never Come,’ offering the group some future hope and momentum. This was followed by the above-mentioned Misty Lane reissue campaign which began with the group’s long out-of-print 1980 Moxie label debut four-track EP including ‘Run From Home’ and ‘Deposition Central (The Acid Song)’, the latter written by and featuring original collaborator, and future Long Ryders and Coal Porters lynchpin, Sid Griffin.

Although the absolute drop dead cool and snot-caked teen punk insouciance which the early Unclaimed compositions became revered for would be somewhat difficult to match – or indeed improve upon – the Unclaimed of ‘Creature Of The Maui Loon’ are a different kettle of fish indeed. Yet, still, some of the fun, romance, humour and cynicism which has always formed part of, certainly, the songwriting and performance process for which Ganz was chiefly responsible for, remains alive and well throughout the album. Songs such as ‘The Heart Never Forgets,’ ‘(Not So Good) Queen Bess’ and one of the album’s true highlights ‘Guitar M-Sheen Gun’ are perhaps the best examples of those qualities. Contrastingly, there’s also a newfound lightness of touch in evidence throughout certain songs – as there also was on the last EP – and at least a few more uncommon textures as well as changes in rhythmic feel to be found within the various different components that make up the album; even if, now and again, there are still the requisite sharp, hip sounding riffs to be found, as well as Ganz’s still compellingly gruff vocals intoning a whirlwind of confusing narratives around the question of friendships and would-be romantic relationships. And, of course, it just wouldn’t be the Unclaimed unless there also included the embellishment of songs with generous amounts of fuzztone guitar providing that extra menacing edge.

It’s no secret that Shelley Ganz was infatuated with the sounds of such groups as the Count V , the Seeds and the Syndicate Of Sound, but as maybe not so many were aware of, he was also a lover of many non-garage, bubblegum pop sounds. This album shows off a little of this too, or at least it could be argued more than any other Unclaimed recordings do. As a massive fan of the Unclaimed for many years myself, albeit one who never managed to witness the group live on stage, I have to, however, be honest and say that with regard to the Unclaimed’s three albums, ‘Creature Of The Maui Loon’ contains, pro quota, less out and out highlights than the others. Some songs may have had more appeal and more power overall had there been less repetition, and had one or two selections been afforded a little more brevity. That said ‘Creature Of The Maui Loon’ is still a good album, and the more one listens to it, the more it seems that new and more enjoyable elements jump out from certain songs to surprise. Perhaps this is due to the always sounding Hallowe’en-ness of the Unclaimed overall; just as they are and just as they were always meant to be.