Category: grunge

New Audio: JOVM Mainstay Mark Lanegan Releases a Shimmering and Brooding New Single

Over the past handful of years, I’ve managed to spill a fair share of virtual ink covering acclaimed, JOVM mainstay Mark Lanegan over the years on this site. And as you may recall, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist’s 11th full-length solo album Somebody’s Knocking continued an incredible run of critically applauded releases but the album’s material found the JOVM mainstay turning to some of his most formative musical influences and profound loves — electronic music.  “I’ve always been into electronic music since I was a kid,” Lanegan said in press notes at the time. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

2020 will be a busy year for Lanegan: his memoir Sing Backwards and Weep will be published by Da Capo Press on April 28, 2020 — and his 12th solo album Straight Songs Of Sorrow will be released through Heavenly Recordings on May 8, 2020. Featuring guest appearances from his longtime  Greg Dulli, Warren Ellis, the legendary John Paul Jones, Ed Harcourt and countless others, Straight Songs Of Sorrow is inspired by his own life story, as documented in his memoir.

Reportedly, Sing Backwards and Weep is a brutal, nerve-shredding read, centered around Lanegan’s recounting his journey from troubled youth in Eastern Washington, through his days as a drug-fueled member of Seattle’s grunge rock scene to today with Lanegan finding peace and salvation within himself with unsparing and unadulterated candor. While the book documents his lifelong struggle to find peace within himself, his forthcoming 12th album emphasizes the extent to which he realized that music is his life.

“Writing the book, I didn’t get catharsis,” Lanegan says. “All I got was a Pandora’s box full of pain and misery. I went way in, and remembered shit I’d put away 20 years ago. But I started writing these songs the minute I was done, and I realized there was a depth of emotion because they were all linked to memories from this book. It was a relief to suddenly go back to music. Then I realized that was the gift of the book: these songs. I’m really proud of this record.”  Interestingly, in press notes, Lanegan affirms that each of Straight Songs Of Sorrow‘s 15 songs references a specific episode or person in the book — albeit, some more explicitly than others.

Whereas the previous two Mark Lanegan Band albums, 2017’s Gargoyle and the aforementioned Somebody’s Knocking found Lanegan pairing his lyrics to music written by collaborators, most of Straight Songs Of Sorrow was written by Lanegan — with the exception being the collaborations with Mark Morton. Two other songs have shared credits — and those two songs were cowritten by Lanegan’s wife Shelley Brien. But much like the book that inspired it, the album ends  with its hero overcoming adversity and struggle and turning, battered and beat up, but cleansed, towards a bright new day

So far, I’ve written about the album’s first two singles — the slow-burning, part bluesy lament, part tale of survival and redemption “Skeleton Key.” and the uptempo yet vulnerable “Bleed All Over.” The album’s third and latest single “Stockholm City Blues” is a brooding and spectral song, centered around twangy and looped guitar, a shimmering string arrangement and an achingly plaintive vocal from Lanegan. Evoking the gnawing loneliness of being a foreigner in a foreign land that you can barely understand, and of a man wandering around narrow European streets with his own thoughts and regrets, the song may arguably be one of the most sorrowful of released to date. 

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New Audio: JOVM Mainstay Mark Lanegan Releases a Brooding and Atmospheric New Single

I’ve spilled a fair share of virtual ink covering Mark Lanegan over the years on this site. And as you may recall, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist is known for being the frontman and founding member of Seattle-based grunge rock pioneers Screaming Trees and for a lengthy career as an acclaimed solo artist, who has collaborated with an eclectic array of artists and bands — including  Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam’s Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others.

Lanegan’s 11th full-length solo album Somebody’s Knocking continued an incredible run of critically applauded releases but the album’s material found the JOVM mainstay and grunge rock legend turning to some of his most formative musical influences and profound loves — electronic music.  “I’ve always been into electronic music since I was a kid,” Lanegan said in press notes at the time. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

2020 looks to be a momentous year for Lanegan: Lanegan’s memoir Sing Backwards and Weep will be published by Da Capo Press on April 28, 2020 — and his 12th solo album Straight Songs Of Sorrow will be released through Heavenly Recordings on May 8, 2020. Featuring guest appearances from his longtime  Greg Dulli, Warren Ellis, the legendary John Paul Jones, Ed Harcourt and countless others, Straight Songs Of Sorrow is inspired by his own life story, as documented in his memoir.

Reportedly, Sing Backwards and Weep is a brutal, nerve-shredding read, centered around Lanegan’s unsparing and unadulterated candor recounting his journey from troubled youth in Eastern Washington, through his days as a drug-fueled member of Seattle’s grunge rock scene to today with Lanegan finding peace and salvation within himself. While the book documents his lifelong struggle to find peace within himself, his forthcoming 12th album emphasizes the extent to which he realized that music is his life.

“Writing the book, I didn’t get catharsis,” he chuckles. “All I got was a Pandora’s box full of pain and misery. I went way in, and remembered shit I’d put away 20 years ago. But I started writing these songs the minute I was done, and I realized there was a depth of emotion because they were all linked to memories from this book. It was a relief to suddenly go back to music. Then I realized that was the gift of the book: these songs. I’m really proud of this record.”  In press notes, Lanegan affirms that each of Straight Songs Of Sorrow‘s 15 songs references a specific episode or person in the book — albeit, some more explicitly than others.

Whereas the previous two Mark Lanegan Band albums, 2017’s Gargoyle and the aforementioned Somebody’s Knocking found Lanegan pairing his lyrics to music written by collaborators, most of Straight Songs Of Sorrow was written by Lanegan — with the exception being the collaborations with Mark Morton. Two other songs have shared credits — and those two songs were cowritten by Lanegan’s wife Shelley Brien. And much like the book, the album ends with its hero overcoming adversity and struggle and turning, battered and beat up, but cleansed, towards a bright new day.

Last month, I wrote about Straight Songs of Sorrow’s first single, the slow-burning part bluesy lament, part tale of survival and redemption, “Skeleton Key.” Centered around Lanegan’s increasingly Howlin’ Wolf-like baritone, which manages to convey the aching despair, hard-fought and harder-won wisdom that comes from living a messy life, full of dissolution, sin, fucked up decisions and fucked up events. “Bleed All Over,” the album’s second and latest single is a bit more uptempo track featuring rapid fire beats, a looping acoustic guitar line, shimmering synth arpeggios and one of the more plaintive and vulnerable vocal performances from Lanegan in quite some time with a subtle Western tinge. A at its core are the inescapable and lingering ghosts of our lives, the weight of our decisions and actions upon ourselves and others — and the desire to escape it all. 

New Audio: JOVM Mainstay Mark Lanegan Releases a Slow-burning and Atmospheric Blues

Over the past few years, I’ve spilled a fair share of virtual ink covering Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, known as the frontman and founding member of Seattle-based grunge rock pioneers Screaming Trees, and an acclaimed solo artist, who has collaborated with an eclectic array of artists and bands — including  Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam’s Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others.

Last year, Lanegan released his 11th album Somebody’s Knocking. And while continuing an amazing run of critically applauded releases, the album’s material found the JOVM mainstay and grunge legend turning to some of his most formative musical influences and profound loves — electronic music.  “I’ve always been into electronic music since I was a kid,” Lanegan said in press notes at the time. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

Although Somebody’s Knocking came together during an 11 day session in Los Angeles, much of the album’s deepest musical influences are decidedly European, including the album’s two other writing partners Martin Jenkins, who records as Pye Corner Audio and the aforementioned Rob Marshall, who contribute some newer, murkier forms. Reportedly, Lanegan approached working with each of the album’s writing partners from the perspective and lens of a fan, vocalist, and interpreter.

2020 will be a momentous year for the JOVM mainstay and grunge rock legend: Lanegan’s memoir Sing Backwards and Weep will be published by Da Capo Press on April 28, 2020 — and his 12th solo album Straight Songs Of Sorrow will be released through Heavenly Recordings on May 8, 2020. Featuring guest appearances from his longtime Gutter Twin collaborator Greg Dulli, Warren Ellis, the legendary John Paul Jones, Ed Harcourtand countless others, Straight Songs Of Sorrow is inspired by his own life story, a documented in his memoir. 

Sing Backwards and Weep reportedly is a brutal, nerve-shredding read, centered around Lanegan’s unsparing and unadulterated candor recounting his journey from troubled youth in Eastern Washington, through his days as a drug-fueled member of Seattle’s grunge rock scene to today with Lanegan finding peace and salvation within himself. While the book documents his lifelong struggle to find peace within himself, his forthcoming 12th album emphasizes the extent to which he realized that music is his life. 

“Writing the book, I didn’t get catharsis,” he chuckles. “All I got was a Pandora’s box full of pain and misery. I went way in, and remembered shit I’d put away 20 years ago. But I started writing these songs the minute I was done, and I realised there was a depth of emotion because they were all linked to memories from this book. It was a relief to suddenly go back to music. Then I realized that was the gift of the book: these songs. I’m really proud of this record.”  In press notes, Lanegan affirms that each of Straight Songs Of Sorrow’s 15 songs references a specific episode or person in the book — albeit, some more explicitly than others. 

Whereas the previous two Mark Lanegan Band albums, 2017’s Gargoyle and the aforementioned Somebody’s Knocking found Lanegan pairing his lyrics to music written by collaborators, most of Straight Songs Of Sorrow was written by Lanegan — with the exception being the collaborations with Mark Morton. Two other songs have shared credits — and those two songs were cowritten by Lanegan’s wife Shelley Brien. And much like the book, the album ends with its hero overcoming adversity and struggle and turning, battered and beat up, but cleansed, towards a bright new day. 

Centered around atmospheric synths, strummed acoustic guitar, Straight Songs Of Sorrow is a slow-burning track that’s one part bluesy lament, one part tale of survival and redemption from life’s battered and beaten up. Interestingly, as Lanegan gets older, his vocal range inches closer to Howlin’ Wolf — a gravelly rumble that manages to convey aching despair and hard-fought and harder-won wisdom, that comes from living a messy life, full of dissolution and fuck ups. And as a result, the song may arguably the most personal song the JOVM mainstay and grunge legend had released in some time time. 

I’ve written quite a bit about the Swedish-born singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Sofia Härdig throughout the course of this site’s nine-plus year history. Now, as you may recall, the Swedish jOVM mainstay’s career began in earnest at a very young age: she began playing in bands when she was nine. As a teen, she began touring, eventually playing a solo set at CBGB’s. As an adult, Härdig has been hailed as the rocktronica queen of experimental music, developing an uncompromising commitment to a truthful artistic approach. “I find beauty in flaws and that which is not perfect is what excites me, I love the unusual, the unexpected, untrained and unplanned… I hope my music portrays that in its sound,” Härdig says about her approach in press notes.

Härdig’s recently released, fourth album This Big Hushfinds the Swedish-born singer/songwriter, multi-instrumentalist, producer and JOVM mainstay moving away from the deliberate electronic-based sound of her previous work and towards a gritty and raw, old-school rock sound. “I recorded this album with the band in less than three days live in Tambourine Studios in Malmö,” Härdig says of the recording process for This Big Hush. “The vocals were all done in one day, a lot of them are even kept from the original live take. Part of the process is that my electronic demo making has become so thorough and time-consuming that they have been good enough to be released. Since they are out in the world and out of my system, I can break free and do something different with the band, and not the same thing all over again. We never play the same tempo, same length, they follow me where I lead them… this is THIS BIG HUSH”

Infatuation,” This Big Hush‘s fist single was written to pay homage to post-punk pioneers like Siouxsie and the Banshees — but the decidedly riff driven song seemed to Ziggy Stardust-era Bowie, Marc Bolan/T. Rex and Horses-era Patti Smith, complete with an enormous, arena rock friendly hook. “I built this song on a riff that I really loved, building up a groove and then adding backing vocals and playing percussion with whatever I found lying around in the studio and studio kitchen,” the Swedish-born JOVM mainstay said in press notes of the song’s creation. “I used film reels, a serving bowl from IKEA, egg, yar, a knife and fork, to creating an overall feeling of skating down Sunset Boulevard in a Mohikan with a ghetto blaster on your shoulder.”

Radiant Star,” This Big Hush‘s second single was slow-burning and jangling bit of guitar pop that brings Pretenders and the aforementioned Patti Smith to mind. “It was made during many endless nights,” Härdig says in press notes, “on my own and in my studio and also with the band on some more hectic days. Then a lot of other endless days and nights in the studio producing it. My own take of ‘Twinkle Twinkle Little Star’; a song I learned as a 3-year old on the grand piano we inherited from my grandmother.”

Silence,” This Big Hush‘s third single was a slow-burning, lush track that to my ears brought the emotional intensity and lyricism of Patti Smith and Nick Cave to mind — but with an enormous arrangement of jangling guitars, twinkling keys, dramatic drumming, a soaring hook, a gospel-style backing vocal section and arguably one of her most emotionally direct vocal performances.

Interestingly, the album’s fourth and latest single “Sucking the Flowers” is a decidedly anthemic  grunge rocker of a track that seems indebted to PJ Harvey, Patti Smith, Liz Phairand others, as the song is centered around a chugging and propulsive rhythm, enormous power chords, a raucous hook, four-on-the-floor drumming and a defiant vocal performance. Ultimately, this song much like its predecessors reveals that Härdig is a towering force of nature to be reckoned with.

New Video: Denmark’s Twin Dive Releases a Surreal Visual for Mosh Pit Friendly Single “Holly”

Over the course of this past year, I’ve written a bit Aarhus, Denmark-based indie rock act Twin Dive. And as you may recall, the Danish alt rock act formed back in 2018 when its founding duo of Robert Jancevich (vocals, guitar) and Ragnar “Raggi” Gudmunds (drums)  met and bonded over a mutual passion for all things rock ‘n’ roll. Since then, the band has split their time between the studio and live gigs honing and polishing their sound while releasing material that has been compared favorably to Foo Fighters, The Hives and others. During that same period, Charlotte Mortensen (bass) joined the band, helping the band bolster their sound. 

Building upon a growing profile in their native Denmark and across Scandinavia, the band played at this year’s Spot Festival, which caught the attention of Drowned in Sound, who picked the band as one of the best acts of the festival — and they just recently finished a tour of Finland with Finnish act Ursus Factory. Earlier this year, I wrote about the grungy “Animal,” a track that recalls 120 Minutes-era alt rock — i.e., Alice in Chains, Stone Temple Pilots and the like — while thematically, the song was about knowing and taming one’s inner animal. 

The rapidly rising Danish trio’s latest single “Holly” continues a run of grungy, power chord-driven material that draws from 120 Minutes-era alt rock. In fact, because of an arrangement centered around heavily pedal effected and jagged power chords, thunderous drumming and howled vocals the band’s latest single may arguably be the most indebted to Bleach and In Utero-era Nirvana of their entire catalog — but at its core. the song explores the unending battle between our sense of self and our ego in a way that’s partially ironic. 

Directed by Mark Vesterlund, the recently released and incredibly cinematic video is a surreal fever dream featuring a troupe of older Asian women doing traditional dances to the song — and while it’s an odd juxtaposition, the visual is meant to leave the interpretation of its message and meaning to the  viewer. 

New Video: Starcrawler Releases an Anthemic Country-Tinged Rocker

Over the past few months, I’ve written a bit about the Los Angeles-based indie rock act Starcrawler, and as you may recall, the band quickly emerged with the release of last year’s critically applauded, self-titled debut album, an effort that established their sound, a heavily grunge rock-inspired sound, and for a feral live show. Since the release of their debut, the members of the band — Arrow de Wilde (vocals), Henri Cash (guitar), Austin Smith (drums) and Tim Franco (bass) — have had a busy touring schedule that has seen them play some of the world’s biggest music festivals, including Primavera Sound,Rock Am Ring, Download Festival, Voodoo Festival, FujiRock Festival, Reading Festival, Leeds Festival, SXSW and others.

Adding to a rapidly rising profile, the band was included as part of last year’s incredibly diverse crop of Vevo DSCVR — but they were only ones to have Garbage’s Shirley Manson praise the band and de Wilde in a video testimonial. They’ve opened for Foo Fighters, MC50  Morrissey, Beck, Cage The Elephant, Spoon and The Distillers. But 2019 may arguably be the biggest year of the young band’s history: “Hollywood Ending,” the first single from the band this year received praise from NPR and Rolling Stone, and as a result, the track spent several weeks at #1 on speciality radio charts. And the band’s highly-anticipated sophomore album Devour You is slated for an October 11, 2019 release through Rough Trade Records.

Produced by Nick Launay at Sunset Studios, the album finds the band capturing the aggression and essence of their unhinged live show and pairing it with a more elaborate, more nuanced yet harder-hitting sonic palette to create a sound that the band’s Arrow de Wilde says ““encapsulates all the blood, sweat, bruised knees, and broken fingers of a Starcrawler show.”  “Bet My Brains,” Devour You’s first official single, was a T. Rex-like boogie shake, centered around de Wilde’s feral vocals, a massive guitar riff and a cretinous and forceful stomp. Interestingly, the album’s second and latest single “No More Pennies” is a mid-tempo, country rocker with an enormous hook that reveals an ambitious, young band growing more mature and adventurous with their songwriting and sound — while being reminiscent of Headbanger’s Ball-era metal and T. Rex. 

Directed by the band’s Arrow de Wilde and Jonathan King, the recently released video as the de Wilde explained in press notes, “.  . . started with an archive of 16mm film that Gilbert Trejo shot with us on tour and at home over the last year.” “I was editing it together with Jonathan and we were both drawn to a lot of the shots of us around Los Angeles. So we jumped in a car, and shot the video performances around town trying to capture the feeling we get when we’re all together back in the city. We had our friends with us – Gilbert, Annie Hardy (Giant Drag), Mary James, my uncle Jimmy and Jonathan’s chihuahua Earth Angel. It’s got a feeling that captures the dreaminess of the song.” 

New Video: Brooklyn’s Pom Pom Squad Releases a Decidedly “120 Minutes”-era MTV-like Visual for “Heavy Heavy”

Earlier this year, I wrote about Brooklyn-based grunge rock/punk rock-band Pom Pom Squad — Mia Berrin (vocals), Mari Ale Figeman (bass), Shelby Keller (drums) and Ethan Sass (guitar)  — and as you may recall, the act have quickly become a local DIY scene staple for a modern take on the 90s grunge rock sound that finds the band balancing solemnity and whimsy, old school punk aesthetics and emotional vulnerability, which they’ve dubbed Quiet Grrrl punk — and for a raucous live show that they’ve honed playing alongside the likes of Soccer Mommy, Adult Mom, Long Neck and others.

The band’s sophomore EP Ow was released last Friday. Now, as you may recall EP single “Honeysuckle” was an anthemic track, centered around fuzzy power chords, thunderous drumming and a big hook within a quiet, loud, quiet song structure that accurately captured the mindset and emotions of a modern, young woman. Now, as you may recall, “Heavy Heavy” received attention from Stereogum, Paste, Under the Radar, Highsnobiety and Thrillist, as well as airplay on SiriusXM Alt Nation, and as soon as you hear it, you’ll understand why: the band crafts mosh pit friendly, power chord-driven hooks paired with thunderous drumming and a unhinged, feral vocal performance reminiscent of Fever to Tell-era Yeah Yeah Yeahs. 

Directed by the band’s Mia Berrin, the recently released video features Pom Pom Squad’s front person in a variety of guises — cheerleader, princess, angel that busts of out of those stifling roles through the destruction of a number of cakes. Of course, there’s also footage of a Doc Marten-wearing Berrin and her bandmates furiously performing the song. For any of you that have actually come of age during the 90s as I have, the video immediately brings 120 Minutes-era MTV to mind. 

Over the past couple of months, I’ve written a bit about the Brooklyn-based indie rock act Big Cheese. And since their formation back in 2012, the band has released two albums — 2014’s Loose Teeth and 2016’s Supersonic Nothing, which have helped them establish a reputation for crafting 90s alt rock-inspired fuzz pop ant=hems paired with sarcasm and irony soaked lyrics.

Now, as you may recall, the band’s forthcoming Oliver Ignatius-produced third full-length album, Wild to Be Born is slated for a September 13, 2019 release. Deriving its title from the untamed sentiment of the album’s material — and an overall feeling of being ravenous for some kind of awakened, the album, which was recorded at Holy Fang Studios reportedly finds the band expanding their sound with the material drawing from Amerciana, grunge and several other genres and styles. I’ve written about two album singles so far:  the anthemic “Golden.” a mosh-pit friendly bit of fuzz pop that brought Dinosaur, Jr., JOVM mainstays Dead Stars and The Colour and the Shape-era Foo Fighters to mind — and the grunge rock-inspired “Filthy Rich.” The album’s latest single “In This World” is centered by a propulsive and rolling bass line, thunderous drumming, slashing guitar lines and ironically delivered lyrics, making it the most post punk-like and forward thinking song off the album to date

 

 

New Video: Mark Lanegan Releases a Hallucinogenic Visual for “Night Flight to Kabul”

Over the past few years, I’ve spilled a fair share of virtual ink covering Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, known as the frontman and founding member of Seattle-based grunge rock pioneers Screaming Trees, and an acclaimed solo artist, who has collaborated with an eclectic array of artists and bands — including  Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam’s Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others.

As a solo artist, Lanegan has released 10 critically applauded albums that have seen a fair amount of commercial success. (Ironically, his solo work has seen much more commercial success than his work with Screaming Trees.) The Ellensburg-born, Los Angeles-based singer/songwriter, guitarist and JOVM mainstay’s tenth solo album Gargoyle was a collaboration between him, British-born and-based musician Rob Marshall and longtime collaborator, singer/songwriter, multi-instrumentalist and producer Alain Johannes. That album’s material was both an expansion and refinement of the Krautrock-tinged blues of his two preceding albums  2012’s Blues Funeral and 2014’s Phantom Radio.

Somebody’s Knocking, Lanegan’s 11th full-length solo album is slated for an October 18, 2019 release through Heavenly Recordings, and the album’s material finds the acclaimed singer/songwriter turning to some of his most formative musical influences and loves — electronic music. “I’ve always been into electronic music since I was a kid,” Lanegan says in press notes. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

Although Somebody’s Knocking came together during an 11 day session in Los Angeles, much of the album’s deepest musical influences are decidedly European, including the album’s two other writing partners Martin Jenkins, who records as Pye Corner Audio and the aforementioned Rob Marshall, who contribute some newer, murkier forms. Reportedly, Lanegan approached working with each of the album’s writing partners from the perspective and lens of a fan and interpreter. 

Lyrically speaking, the album purportedly sets the listener down multiple rabbit holes, as Lanegan paints psychedelic pictures inspired by the music. “I feel like I write lyrics instinctively. I let the melody come first and then it tells me what the words are going to be and I write whatever feels appropriate,” Lanegan says in press notes. “That said, I’m also influenced by everything I’m into. I don’t usually like to talk about what a song means to me; I prefer that the people who connect with a song do so with their own interpretation. It never crossed my mind what Neil Young meant by After The Gold Rush, only the personal movie it created in my head. My entire life, all the music that I’ve connected to has drawn me in like that. Joy Division, Nick Drake, Son House, The 13th Floor Elevators, The Gun Club… all the music that meant the most to me, the music that saved my life was the music that told my own story back to me.”

Naturally, some aspects of the real world can’t help but seep their way into the album’s material. “It seems to me that the entire world is in a weird, precarious place right now,” the Ellensburg-born, Los Angeles-based singer/songwriter says in press notes. “I try to not be someone in a constant state of worry and alarm but watching the massive divide that is taking place and the political situations, especially in the US and UK makes me think, ‘what the fuck are these idiots thinking?’ The hatred, racism and all this other fear-driven shit, these ‘adults’ that continually drive the machine that perpetuates this ignorance to their own ends should all be in the prison cells instead of the non-violent drug “offenders” in them now. I can’t specifically say how any of this effects my writing but I know that most of the things that occupy my thoughts have a way of coming back out in a song.”

Now, as you may recall, I wrote about the bluesy-Heaven Up Here-era Echo and the Bunnymen-like “Letter Never Sent.” The album’s latest single “Night Flight to Kabul” may arguably one of  be the album’s more dance floor friendly tracks, as it’s centered around thumping, four-on-the-floor drumming, rumbling bass lines, shimmering and skronky guitars, a tight motorik groove and Lanegan’s imitable croon. In some way, the song will likely remind listeners a bit of a bluesy take on the likes of Gary Numan and New Order. But lyrically, the song evokes a hallucinatory and surrealist fever dream, in which things aren’t quite what they seem. 

Directed by Dean Karr, the recently released video for “Night Flight to Kabul” is a hallucinogenic and feverish dream. ‘“The artistry and genius of Dean Karr is what made this video happen,” Mark Lanegan says in press notes. “5,000 still photographs taken in eight hours were painstakingly put together to give the appearance of a strange wraithlike figure moving weirdly through the desolate landscape of the Salton Sea. My third video with Dean in three different decades and I have to say this was the best. The most artistically challenging and satisfying.”

“We had been talking about doing this video for ‘Night Flight to Kabul’ for a month or two and my only concern was how could I pull this off with such a challenging budget for my friend?” The video’s director, Dean Karr adds in press notes. “Being a photographer before I was ever a director, I decided to use my Nikon D810 still camera for the entire music video and turn it into animation throughout the entire clip. What a simple solution! There’s lots of post work involved, which was done by editor and FX artist Joel Nathaniel Smith. There’s alot to be said for the simplicity of working WITHOUT a crew, it was just Mark, myself and a fan of Mark’s (Jason Hall) who drove 3 hours out of his way to meet us at the The Salton Sea, CA to help us shoot a beyond unique video! I think this is one of the freshest looking things out there today and love the ‘melty’ moments, which remind me of doing hallucinogenics back in the day!”