Holding the translucent vinyl pressing of *Kinetica* feels like gripping a piece of heavy machinery still warm from the furnace. It has a weight to it that mirrors the sonic density of the music inside. For 12 years, Beasto Blanco has existed as a sort of beautiful anomaly in the rock circuit—a project born from the long-standing brotherhood of Alice Cooper bassist Chuck Garric and guitarist Chris Latham. They eventually added Calico Cooper to the roster, and the result was a theatrical, grease-painted juggernaut that refuses to play nice.
But let’s be direct: most "theatrical" bands are hiding a lack of substance behind the smoke machines. Beasto Blanco is the rare exception where the grit of the performance matches the precision of the songwriting. Their latest effort, *Kinetica*, marks a sharp pivot in their evolution. Produced by Chris Harms of Hamburg’s Lord of the Lost, the album is a collision of American gutter rock and European industrial polish. It’s a messy, loud and brilliant expansion of their previous identity.
I caught up with Chuck Garric recently to discuss the mechanics of this new era. He sounds like a man who has finally found the right tools for the job. Our conversation moved from the studio floor to the open road, and it became clear that for Garric, the process is never truly finished.
“Well, you know, we're always creating. We're always writing. I mean, the record itself, as far as the concept or the songs, has been about a year. I started working with Chris Harms about a year before it was released. And we just went to town. We just started writing together, Pro Tools sessions, and things like that. I knew right away he'd be the perfect producer for this album. We had some songs that we were working on during the pandemic that we threw into the mix. And one of those songs happens to be Lowlands,” says Garric.
The track "Lowlands" is where the band’s new skin really starts to show. It’s accompanied by a gothic video starring Calico Cooper and Jed Williams, acting out a grim narrative of self-worth. There is a swampy, humid blues quality to the track, but Harms has injected it with a cold, electronic heartbeat that keeps it from feeling like a standard throwback. It’s a risky move that pays off by making the track feel timeless rather than dated.
Garric breaks down the DNA of the track with the enthusiasm of an architect. “If you like our cover of Feed My Frankenstein kind of has that blues vibe. Death Rattle, for sure is swampy blues. But the thing I love the most about Lowlands is it has that swamp blues, but it's flavored with some cool electronics and a little bit of an industrial vibe to it. So, it’s a great marriage,” he explains.
The collaboration with Chris Harms wasn't some calculated industry move. It was a bit of serendipity found in the German touring circuit. Sometimes the best creative partnerships happen when you aren't looking for them.
“I never met him before. I knew of the band, but it was our publishing company that came and saw us perform in Germany and said, ‘I've got the perfect producer for you guys.’ He introduced me to Chris Harms and thought it'd be a nice way for us to give the old American handshake if you will. He thought it'd be a good way for us to blend those two sounds, which I think we did really well on this Kinetica album,” Garric says.
And he’s right. The blend works because it doesn’t soften the band’s edges. If anything, the industrial influence makes the guitars feel more like jagged metal. A significant part of this growth is the elevated presence of Calico Cooper. On previous records, she was a secret weapon; on *Kinetica*, she is a primary force. Her voice has a theatrical range that most rock singers would kill for, and her songwriting contributions have given the band a new narrative depth.
“Yeah, she was involved in every song, and it was fun. We wanted her to get involved more. So, Lowlands and Unreal, Kill Us All with a Smile. And then, her and I together, both singing verses in Bad Thoughts and things like that,” Garric notes.
He continues, “I just think it's a great combination and it's very unique. Nobody's doing what we're doing out there right now and Chris Harms is such an expert with melodies. We're proud of the record.”
The fourth track, "Unreal," is perhaps the most striking example of this new synergy. It features a vocal duet between Cooper and Harms that feels like a dark pop anthem trapped in a nightmare. It’s catchy, sure, but it has a lingering sense of unease.
“She crushed it on that particular song. When that song was sent over to us, we didn't have a real solid vocal melody. We had just the chorus idea, which was Unreal, which Harms had sent us. I immediately sent it to Calico and said, ‘We've got the song for you. This is right up your alley,’” says Garric.
The speed at which the song came together suggests a band in a state of high-functioning flow. “She whipped out the lyrics in just an hour or two, and then that was the song we decided would be great for Harms. We wanted a song where he was involved vocally on the record and he chose that particular song, which I think was very fitting. I think the two of them work well together,” he adds.
But it’s not all high-octane aggression. "Kill Us Off With A Smile" serves as the album’s emotional anchor. It’s a ballad, but don't expect power-ballad clichés. It’s darker, more subtle and focuses on the emotional weight of the lyrics.
When she came up with the idea that she wanted to do a video for every song, we're like, let's do it. So, we were filming for a couple of days straight and got so much material. We still have an hour's worth of material out there that we're going to release as soon as all these videos come out.
“One of my favourite off the record, I think. The one thing I love the most about that song is you can get really attached to the lyrics. Calico does a great job at singing the song, but also telling the story emotionally. That song's getting a lot of attention right now and I'm just trying to figure out a way to incorporate it into our set list because it's a song for everyone. It has your typical ballad type of arrangement, but I think the lyrics have a little bit of a nod to the danger that Beasto is,” Garric says.
That danger is most evident in the opener, "Run For Your Life." It’s a classic Beasto Blanco move: start fast, stay loud and don't apologize. It was the first single for a reason. It acted as a bridge for the fans who have been there since day one while signaling that the sound was expanding.
“And yeah, that's important. That was the reason why we released that one as a single, because I think we knew how different this record, was going to be. We thought that would be a good song to come out of the gate with because it would get our older fans, our loyal beasts excited about what's up, and the new sound, but it also captured some new followers as well,” says Garric.
Visually, the band is in a league of its own. Calico’s background in theatre and film isn't just a hobby; it’s the engine behind their aesthetic. She isn't just a singer; she’s the creative director of the Beasto universe.
“She's a really talented writer and director, and she's able to tell a story and get you involved in the characters in a three-and-a-half-minute video. She's great at getting to the point, plus, keeping the brand in mind, the image of Beasto and what we're really about, making sure that that's coming across as well. We work really well together as a band and as a business,” Garric explains.
The ambition for this cycle is staggering. They aren't just making music videos; they are building a cinematic world. They spent days in the California heat filming content for every single track on the record.
“When she came up with the idea that she wanted to do a video for every song, we're like, let's do it. So, we were filming for a couple of days straight and got so much material. We still have an hour's worth of material out there that we're going to release as soon as all these videos come out. All of them are made. Some are getting edited as we speak. We're still adding to some of them, some will be full length, and some will maybe just be a minute long. Kinetica has turned out to be a wonderful way to tell the story behind Beasto Blanco and we have about an hour twenty of a movie basically that we've shot,” says Garric.
Interestingly, this wasn't intended to be a concept album. It’s a rare case of the art dictating the direction rather than the other way around. Once they stepped back and looked at the finished product, the narrative arc revealed itself.
“Not at all. It just ended up that way when we just started listening to the record in no particular order. We ended up realizing, wow, we’re onto something here. To me, the record vibrates this Mickey and Mallory kind of sci-fi spy novel that just has this amazing story, and you don't know whether we're villains or heroes,” he says.
The filming of "Lowlands" took them into the dirt of Southern California. When I asked about the locations, Garric gave a smirk you could practically hear through the phone.
“The video was filmed in Los Angeles. There are a lot of locations that we went to on that particular one. As a matter of fact, all of our videos were filmed on location in Southern California. It was an actual location where we shot that. It was, filmed in our lair,” he says, tongue firmly in cheek.
Beyond the greasepaint and the stage shows, Garric is a student of the craft. When I asked about his favorite Alice Cooper song to play, he didn't hesitate. It’s "Go to Hell."
“Oh, I would have to say Go to Hell. I love the song. I love the lyrics. I love the bass line. Just as a whole, it's a great song. If you don't know the song, you'll know it after the first verse,” he says.
And regarding the deep cuts? He has his eyes on "Unfinished Suite." “We haven't had a chance to play that live, but I would love to see what we could do with that one,” he admits.
His influences are a masterclass in rock history. He doesn't just look for speed; he looks for character. From the melodic precision of Queen to the raw power of Motorhead, Garric’s playing is a synthesis of the greats.
“Believe it or not, I was heavily influenced by Bob Daisley of Ozzy Osbourne and Uriah Heap and John Deacon of Queen. I didn't even realize it was Bob Daisley on some of those early Ozzy records, but I learned every note and realized it was Bob Daisley later on in life. I love Lemmy for his straight-up just rock and roll attitude, lyrics, and overall legend that that guy has left us. I even loved Dee Dee Ramone, because, for me, I thought that being a bass player was cool, and guys that just kind of fit into this lifestyle, and you didn't need to know what they sounded like. You knew just by looking at a picture of Dee Dee what the band would sound like, or how his bass playing would be, same with Lemmy. Cliff Williams from ACDC was also a massive influence on me,” he says.
When it comes to the eternal debate—Beatles or Stones—Garric lands firmly on the side of the grit. He prefers the human element, the sound of a band actually playing in a room, imperfections and all.
“Man, I can't pick. For me, I love the Stones just for the pure rawness that the Stones gave us. I love hearing mistakes on records, or not necessarily mistakes, but things they left in because they were imperfections. But you can never deny the Beatles' songwriting, how they changed music, the harmonies, lyrics. I think just because they came out at the same time, people like to compare them, but for me, I think they're two different bands. There was more of a polished element to the Beatles than there was to the Stones. I always like a little bit of the imperfections,” he says.
If the music ever stopped, Garric wouldn't be sitting idle. He’s a builder. Whether it’s helping kids find their way or rebuilding an engine from the ground up, he’s driven by the need to create and mentor.
“Yeah, it's funny, because I do think about it quite a bit. Somewhere, somehow, I would figure out a way to become a mentor, or directing children that are wayward into a lifestyle that fits their creativity. I would find myself in some sort of counselor or mentor position. I think that was something that was important to me as a kid. Just recently in my life, when I was building motorcycles, I found a mentor. I do think there are important people out there that you can find as a mentor, or a big brother, or somebody like that, that can give you the confidence or the knowledge to move forward in something you're doing,” he says.
His recent foray into motorcycle building isn't just a hobby; it’s a philosophy. It’s about understanding how things work, from the smallest bolt to the entire engine. It’s the same way he approaches a song.
“Always, yeah, but never a builder. So, this last year or two was my first attempt at real mechanics, ripping apart an entire engine, rebuilding it, and understanding how it all works. Learning how to weld, use a lathe, making parts, everything that's on my motorcycle. All the parts that we could make, I made by hand on a lathe, or with a hammer and some metal. So, I really love that. I love working with my hands. I think there's something really important about that. And there’s not a part on that bike that I didn't touch or fabricate. I know how everything works. It makes it a lot more fun to ride, knowing that if it does break down, I hopefully can fix it,” he says.
As for the future, the prospect of a massive Alice Cooper family tour is always on the table. It’s a logistical nightmare, perhaps, but a fan’s dream.
“I'm up for anything, you know, it has been discussed. And, you know, it's one of those things where so many of us in Alice’s band are involved in so many different projects. I think the really cool thing would be to have all of us open up for Alice, make it into one big old festival,” says Garric.
Canadians are still waiting for their turn to see the *Kinetica* show live. The touring schedule is dense, but there is hope on the horizon.
“We hope so. We're starting our summer tour in September with Lords of the Lost in the States. And the closest we get to Canada is Minnesota. Then we're back to Europe again in November. So, I know that more dates are coming, and I sure hope Canada is on the itinerary,” he says.
*Kinetica* is out now. It’s a record that demands to be heard loud, preferably while driving something fast that you built yourself. Beasto Blanco has grown up, but they haven't calmed down. And that’s exactly how it should be.
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