Live Concert Photography: Mark Lanegan Band with Simon Bonney at Warsaw 5/14/19
Over the past few years, I’ve written quite a bit about Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, who is best known as the frontman, and founding member of Seattle-based grunge rock pioneers Screaming Trees, and for collaborating with an incredibly diverse array of artists and bands throughout his lengthy career, 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.
While developing a reputation for being a highly sought-after collaborator, Lanegan has also managed to maintain a solo career that has seen him release ten, critically applauded and fairly commercially successful albums. Ironically enough, his solo work has actually seen more commercial success than his work with Screaming Trees. Now, as you may recall, Lanegan’s tenth solo album, 2017’s Gargoyle found the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist collaborating with British-based musician Rob Marshall, who’s best known for stints with Exit Calm and Humanist and his longtime collaborator, multi-instrumentalist and producer Alain Johannes. And sonically, the material was an expansion and refining of the Krautrock-tinged blues of his two previously released albums 2012’s Blues Funeral and 2014’s Phantom Radio.
Slated for an October 18, 2019 release through Heavenly Recordings, Lanegan’s 11th full-length album Somebody’s Knocking reportedly is less the tale of a brooding rock veteran and more that of someone consumed by a lifelong love affair of music and words; in fact, some of the influences and references on the album are oblique while others direct and fully respectful. — and the result is an album that purportedly finds Lanegan and his collaborators creating with a profound sense of joy. Interestingly, much of the material finds Lanegan turning to one his 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 Lanegan’s forthcoming 11th album came together during an eleven day session in Los Angeles, many of the album’s deepest musical influences are decidedly European, including some newer, murkier forms provided by Martin Jenkins. who records as Pye Corner Audio or Rob Marshall, a collaborator on Gargoyle and on his own, forthcoming debut album as Humanist. In each case, Lanegan approached working with each of the writers from the perspective of a fan.
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.”
Earlier this month Lanegan’s North American tour made a stop at Warsaw, where he played a career spanning set that featured quite a bit of material off the forthcoming album as well as some of my favorite songs off Gargoyle. He’ll be touring throughout Europe during the fall. (Those tour dates are just below.)