Tag: Mark Lanegan

New Video: JOVM Mainstay Alison Mosshart Releases a Film Noir-ish Black and White Visual for Atmospheric “It Ain’t Water”

Alison Mosshart is a Vero Beach, FL-born, Nashville-based singer/songwriter best known as one-half of the acclaimed indie rock act JOVM mainstays The Kills — and for being the frontwoman of the indie rock/blues punk supergroup The Dead Weather. Over the past decade or so, Mosshart has been restlessly creative: her painting has been show in galleries across the world and she has published her first book, CAR MA, a collection of her art, photography and writing that serves as a love letter to all things automobile. In that same period of time, Mosshart has become a go-to collaborator, adding that extra dash of swaggering badassery, working with her Dead Weather bandmate Jack White, Arctic Monkeys, Primal Scream, Gang of Four, Cage The Elephant, Foo Fighters, James Williamson and Mini Mansions in a rapidly growing list.

2020 will continue a period of remarkably creative prolificacy for Mosshart: Currently, Mosshart and her bandmate Jamie Hince are working on the next Kills record, which they hope to be able to bring to the road — pandemic willing, of course. This year will also see Mosshart stepping out into the spotlight as a solo artist, releasing material under her name for the first time in her career. Although, releasing music under her own name is a completely new and thrilling experience, the album’s material can be traced back to unreleased material Mosshart had been compiling for the better part of the past decade. Now, as you may recall, last month, I wrote about her debut single, the  Lawrence Rothman-produced “Rise.” Initially tracing its origins to a song sketch that Mosshart wrote in 2013, the song is a slow-burning and searing blues with brooding and ominous undertones centered around thumping beats, fuzzy power chords, Mosshart’s imitable vocals and an enormous, arena rock friendly hook. 

Mosshart’s second and latest single is the atmospheric and brooding, Alain Johannes-produced and recorded “It Ain’t Water.” Centered around a sparse arrangement of shimmering acoustic guitars, strings and gently padded drums, the song manages to bring PJ Harvey, Nick Cave, and JOVM mainstay Mark Lanegan to mind. Although the song was written late last year, Mosshart had been sitting on the track for some time — with the acclaimed signer/songwriter guitarist turning to the then-unfinished track whenever she found herself battling a bout of writer’s block. 

“Working with Alain on ”It Ain’t Water’ was a blast. He’s such a talent and such a kind person,” the JOVM mainstay says of working with Alain Johannes. “His mind is wide open. He understands and sees the beauty in imperfection, magic moments, accidents- the soulful human stuff, and the spirited super-human hard to explain stuff that makes a song great. Working with him was an honor, and also, hot damn he can play any instrument like a champ . .  . like he invented the instrument himself. Alain Johannes IS music.” 

Directed, edited and shot by Mosshart, the recently released video continues a run of decidedly DIY visuals — but unlike its predecessor, its shot in an aptly film noir-like black and white and evokes our pandemic-influenced isolation, as we see the acclaimed Kills and Dead Weather frontwoman in her own home, expressively dancing in the background while we see a superimposed image of a sunglasses wearing Mossheart singing the song. 

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. 

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. 

New Video: Lunar Twin Releases a Brooding Late Night Visual for Trip Hop-like “Leaves”

Deriving their name from a scientific theory that suggests that Earth may have had a second moon, a twin moon that was destroyed in a massive collision during the earliest moments of our solar system, Lunar Twin, which is comprised of vocalist Bryce Boudreau and multi-instrumentalist and producer Chris Murphy can trace their origins back to 2011’s Denver Underground Music Festival when Boudreau joined Murphy’s goth band Nightsweats as a guest vocalist. And by 2013, the duo started collaborating together full-time.

With the release of their debut, 2014’s self-titled EP and 2017’s Night Tides EP, the duo which is currently split between Hawaii and Salt Lake City have developed a unique take on chill wave/dark wave that draws from and possesses elements of synth pop, shoegaze, dream pop and others. A couple of years have passed since I’ve written about Lunar Twin — and as it turns out, the duo’s Chris Murphy has been busy sharing the stages with a growing list of acclaimed and renowned artists including Grimes, Bonnie Prince Billy and Peaches through other projects he’s worked in. But the duo have also been working on their long-awaited third EP Ghost Moon Ritual, which is slated for a February 16, 2020 release through  the band’s own imprint, Tropical Depression/Desert Heat. 

Ghost Moon Ritual reportedly finds the duo expanding upon the sound that caught the attention of this site and elsewhere with some of the material nodding at psych folk and desert noir-themed late night moon music. The EP’s latest single, the moody and atmospheric “Leaves” is centered around Boudreau’s sonorous, Mark Lanegan-like baritone, layers of buzzing and shimmering synths and thumping beats. And while simultaneously nodding at trip hop and dream pop, the song evokes — for me, at least — a a specific late night loneliness I’ve known — wandering a new town, a new country on your own, as a stranger, a man from far away. 

Directed by San Francisco-based Zoey Nyguen, the recently released video is set in a raw, late night, neon cityscape — her neighborhood of Russian Hill. ” I wanted to embody the song with visuals from my within my neighborhood and local surroundings and to include basically a collage of clips from different time periods and eras of the City,” Nyguen says in press notes. “I made the video as a simple Creative Commons project and then approached the group about a possible collaboration and then filmed them performing to add to the story I had built around their song into something more” 

“Collaboration with a new person is always a surprise creatively and I thought her vibrant and imaginative approach visualizing the song to be just right .. to curate this version of this songs story,” Bryce Boudreau says of the video. “Her choice of imagery really melds with the track. I’m very happy with the way the video develops and encapsulates everything we are trying to express musically” Chris Murphy adds in press notes. 

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!”

 

I’ve spilled my fair share of virtual ink, covering Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, who 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’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-BirdCreature with the Atom BrainMobyBomb the BassSoulsavers, Greg Dulli’s The Twilight SingersUNKLE and others.

Lanegan’s solo career has seen him release ten, critically applauded albums that have seen a fair amount of commercial success. (Ironically,. his solo work has actually seen more commercial success than any of his work with Screaming Trees.) The Ellensburg-born, Los Angeles-based singer/songwriter and guitarist’s tenth solo album Gargoyle found him collaborating with British-born and-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. Interestingly, the album’s material was both an expansion and refinement of the Krautrock-tinged blues of his two previously released albums 2012’s Blues Funeral and 2014’s Phantom Radio.

Now, as you may recall, Lanegan’s 11th full-length album Somebody’s Knocking is slated for an October 18, 2019 release though Heavenly Recordings, and the album reportedly less the tale of a brooding rock veteran and more that of someone consumed by a lifelong love affair with music and words. Interestingly, much of the album’s material finds Lanegan 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 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.”

Centered around a motorik groove, shimmering guitar lines and a tight hook, “Letter Never Sent,” the album’s latest single manages to bear an uncanny resemblance to Heaven Up Here-era Echo and the Bunnymen but imbued with a bluesy tinge.

 

Best known for being a member of the San Francisco-based indie rock acts Fine Points and Sleepy Sun, guitarist Evan Myall will be releasing his debut solo EP Basic Gardening on November 16, 2018 — and the EP’s latest single, the breezy and infectious “Frances” manages to draw a bit from Myall’s previous work while being a subtle yet mischievous departure from it, as the track is centered by big, buzzing power chord chords, a simple yet propulsive backbeat, Myall’s easygoing crooning and a buoyant hook featuring some harmonized ooohs and ahhs. In some way, the song manages to recall 70s AM rock, Mark Lanegan‘s solo work and 90s guitar pop simultaneously. And while sounding as though it’d be perfect in as part of the soundtrack of Wes Anderson movie, it’s a friendly, joyful tune and a much-needed respite in a vicious and cynical world on the verge of collapse.

As Myall says in press notes, “My friend, Bobby Renz, and I hunkered down at Different Fur Studios in the Mission district of San Francisco to make these recordings. Working on the jams with Bobby was really fun. This type of  studio merrymaking occurs when everyone is working hard and not taking themselves too seriously. Sprinkle in some coffee, tacos, and a couple talented musician cronies on slide guitar/ooohs n’ ahhhs – you’ve got yourself a tune!”