Tag: Soulsavers

 

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.

 

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New Video: Grunge Pioneer Mark Lanegan Teams Up with Duke Garwood on an Atmospheric and Eerie Single

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 somewhat commercially successful albums; in fact, ironically, his solo work has seen more commercial success than his work with Screaming Trees. 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. Sonically speaking, the material was both a refinement and an expansion of the Krautrock-tinged blues of his previous two albums Blues Funeral and Phantom Radio.

Duke Garwood is a British-based blues/indie rock multi-instrumentalist and singer/songwriter, who has written and released six albums as a solo artist — 2005’s Holy Week, 2006’s Emerald Palace, 2009’s The Sand That Falls, 2011’s Dreamboatsafari, 2015’s Heavy Love and 2017’s Garden of Ashes. He’s also collaborated with renowned The Orb,  Archie Bronson Outfit, Savages, Shezad Dawood and the aforementioned Mark Lanegan among others; in fact, Garwood has released an album with Lanegan — 2013’s Black Pudding and as has recorded and toured as a member of Lanegan’s backing band for the renowned grunge pioneer’s last three albums. Interestingly, Garwood and Lanegan continue their ongoing collaboration with their forthcoming, second album together With Animals, which is slated for an August 24, 2018 release through Heavenly Records, and the album, which was split between old-fashioned studio collaboration and Trans-Atlantic file sharing is a decided sonic departure for both artists, as it finds them crafting spectral and sinewy music, focusing on the spaces between notes while employing much different instrumentation — dusty, analog synthesizers and drum machines. The album’s first single, the sparse, mournful and aching “Save Me” is centered around Lanegan’s imitable vocals, fluttering, synths and metronomic drum machines, and in some way the track sounds like a discarded remnant of life just before the apocalypse; but underneath, the song feels made of some older stuff, as though it channels an ancient pagan ritual.

 
As Harwood says of his lengthy collaboration with the renowned grunge pioneer, “Over the years, we’ve recorded together and apart. This time, I started this record alone with many animals as company. It flowed, I set to work and out it came. Our music is instinct, there is not much talking about it, just creating. I think that if you are at peace with your work, and feeling it right, it flows, and can feel ‘easy’. Music isn’t meant to be hard. Though sometimes it can burn you to ashes. Making music for a singer, so they can inhabit it with a song means hitting the right soul buttons. There is no hit without a miss. It is a healing record, for us the makers, and for the listeners. It grows natural. We are gardeners of sonic feelings.  The recently released video features footage of 80s wrestlers but in heavily filtered negatives, which further emphasizes the song’s trippy vibes.

New Video: Mark Lanegan Band Releases Surreal Yet Cinematic Visuals for “Emperor”

Mark Lanegan is a Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, best known as one of the founding members and frontman of renowned Seattle-based grunge rock pioneers Screaming Trees, and as a solo artist who has collaborated 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. Along with that Lanegan is also known for being a member of the grunge rock, All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam‘s Mike McCready and for joining Queens of the Stone Age after the breakup of Screaming Trees, contributing 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. Lanegan has also collaborated with The Afghan Whigs‘ Greg Dulli in The Gutter Twins and has collaborated with former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, he 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 studio albums that have been critically applauded and have seen a fair amount of commercial success. 

Lanegan’s 10th and most recent album Gargoyle was released this past summer through Heavenly Recordings. And interestingly enough, the Ellensburg, WA, Los Angeles, CA-based singer/songwriter can take the origins of the album’s overall sound and aesthetic back to early last year. As the story goes, the grunge rock legend was working on ideas for what could be a new, solo album, when he received an email from his friend and collaborator, British-based musician Rob Marshall, who he met several years before when Marshall’s former band Exit Calm had supported Soulsavers, a band that Lanegan had been fronting. Marshall’s email thanked Lanegan for his participation on a Humanist album — and in the email, Marshall offered to write music for Lanegan, if he needed it to return the favor. As Lanegan recalled in press notes, his response was along the lines of “Hey man, I’m getting ready to make a record, if you’ve got anything? Three days later he sent me 10 things… !” 

Interestingly, the music Marshall had written had managed to fit perfectly with the direction Lanegan had been thinking of for some time — an expansion of the Krautrock-inspired electronic sounds and textures of his previous two albums Blues Funeral and Phantom Radio. Eventually Marshall wound up co-writing six of the album’s 10 songs with the remainder of the album being written and produced by Lanegan’s longtime collaborator Alain Johannes at 11AD Studios in West Hollywood. Gargoyle‘s second single “Beehive” pairs Lanegan’s imitable boozy, growling baritone vocals with a bluesy and swaggering production featuring shimmering guitar chords and enormous tweeter and woofer rattling beats, essentially pushing Lanegan’s recent forays into the blues into the 21st Century; but in a way that feels both warmly familiar and yet new.

Gargoyle’s latest single “Emperor” finds Lanegan and his backing band pairing Lanegan’s imitable, boozy and growling baritone with the sort of old-timey, bar room blues that brings to mind Iggy Pop’s “The Passenger,” complete with jangling and shimmering guitars and a propulsive backbeat; but much like its predecessor, the song possesses a weary and existential weariness just underneath the surface. 

The recently released video continues a string of cinematic yet surreal visuals — in this case, the viewer is thrown into a vaguely Russian styled dictatorship, full of state sanction violence upon innocent people while also nodding at Julius Caesar. While being fictional, the video manages to evoke our dangerously strange and uncertain times. 

New Video: The Cinematic and Mournful Visuals for Mark Lanegan Band’s “Beehive”

Mark Lanegan is a Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, 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. The Ellensburg-born, Los Angeles-based singer/songwriter was also a member of renowned grunge rock All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam‘s Mike McCready. After Screaming Trees broke up in 2000, Lanegan joined Queens of the Stone Age and is featured on the band’s last five 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. He’s also collaborated with The Afghan Whigs‘ Greg Dulli in The Gutter Twins and has collaborated with former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, he 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. And although he’s managed to be rather busy throughout the years, Lanegan has also developed a low-key solo career in which he’s released nine studio albums that have been critically applauded and have seen a fair amount of commercial success.

Lanegan’s 10th full-length effort Gargoyle is slated for release next week through Heavenly Recordings and interestingly enough, Lanegan can trace the origins of the album’s material and sound back to early 2016. At the time, the renowned grunge rocker and singer/songwriter was working on some ideas for material, which could possibly be a new, solo album, when he received an email from a friend and collaborator, the British based musician Rob Marshall, who he had first met several years before when Marshall’s former band Exit Calm had supported Soulsavers, a band that Lanegan had been fronting. The email thanked Lanegan for his participation on an album that Marshall had recorded with his newest project, Humanist while offering to write music for Lanegan to return a favor to the grunge pioneer. As Lanegan recalls in press notes, his response was along the lines of “Hey man, I’m getting ready to make a record, if you’ve got anything? Three days later he sent me 10 things… !”

Early on in the writing process, Lanegan had written “Blue Blue Sea,” a rippling mood peice that he thought and felt would be more fruitful direction for the songs on the album. “It’s almost always how my records start,” the Los Angeles-based singer/songwriter explains in press notes. “I let the first couple of songs tell me what the next couple should sound like, and it’s really the same process when I’m writing words. Whatever my first couple of lines are, tell me what the next couple should be. I’ve always built things like that, sort of like making a sculpture I guess.” Within about an hour, Lanegan and written words and recorded vocals for two of the instrumental tracks Marshall had written and recorded at Mount Sion Studios in Kent UK. Interestingly, the music Marshall had written had managed to fit perfectly with the direction Lanegan had been thinking of for some time — an expansion of the Krautrock-inspired electronic sounds and textures of his previous two albums Blues Funeral and Phantom Radio. Eventually Marshall wound up co-writing six of the album’s 10 songs with the remainder of the album being written and produced by Lanegan’s longtime collaborator Alain Johannes at 11AD Studios in West Hollywood.

As the story goes, everything was polished and finished within a month, which has been unusually fast by Lanegan’s recent standards. “I definitely feel like I’m a better songwriter than I was 15 years ago,” Lanegan stays in press notes. “I don’t know if I’m just kidding myself or what, but it’s definitely easier now to make something that is satisfying to me. Maybe I’m just easier on myself these days, but it’s definitely not as painful a process, and therefore I feel I’m better at it now. But part of the way that I stay interested in making music is by collaborating with other people. When I see things through somebody else’s perspective it’s more exciting than if I’m left to my own devices.”

Gargoyle‘s second and latest single “Beehive” pairs Lanegan’s imitable boozy, growling baritone vocals with a bluesy and swaggering production featuring shimmering guitar chords and enormous tweeter and woofer rattling beats, essentially pushing Lanegan’s recent forays into the blues into the 21st Century; but in a way that feels both warmly familiar and yet new.

Directed by Zhang + Kang and produced by Agile Flims, the recently released video for “Beehive” follows two young lovers — two vampires, actually, who are desperately trying to kick their craving for blood. Before presumably deciding to kill themselves, they spend a sad yet beautiful romantic night together — and at the core of the video is a heavy, world-weary and fatalistic ache.

Mark Lanegan is a Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, 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. The Ellensburg-born, Los Angeles-based singer/songwriter was also a member of renowned grunge rock All-Star supergroup/side project Mad Season with Alice in ChainsLayne Staley and Pearl Jam‘s Mike McCready. After Screaming Trees broke up in 2000, Lanegan joined Queens of the Stone Age and is featured on the band’s last five 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. He’s also collaborated with The Afghan WhigsGreg Dulli in The Gutter Twins and has collaborated with former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, he 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. And although he’s managed to be rather busy throughout the years, Lanegan has also developed a low-key solo career in which he’s released nine studio albums that have been critically applauded and have seen a fair amount of commercial success.

Lanegan’s 10th full-length effort Gargoyle is slated for an April 28, 2017 release through Heavenly Recordings and interestingly enough, Lanegan can trace the origins of the album’s material and sound back to early 2016. At the time, the renowned grunge rocker was working on some ideas for what might be a new solo album, when he received an email from a friend and collaborator, the British based musician Rob Marshall, who he had first met several years before when Marshall’s former band Exit Calm had supported Soulsavers, a band that Lanegan had been fronting. The email thanked Lanegan for his participation on an album that Marshall had recorded with his newest project, Humanist while offering to write music for Lanegan to return a favor to the grunge pioneer. As Lanegan recalls in press notes, his response was along the lines of “Hey man, I’m getting ready to make a record, if you’ve got anything? Three days later he sent me 10 things… !”

Early on in the writing process, Lanegan had written “Blue Blue Sea,” a rippling mood peice that he thought and felt would be more fruitful direction for the songs on the album. “It’s almost always how my records start,” the Los Angeles-based singer/songwriter explains in press notes. “I let the first couple of songs tell me what the next couple should sound like, and it’s really the same process when I’m writing words. Whatever my first couple of lines are, tell me what the next couple should be. I’ve always built things like that, sort of like making a sculpture I guess.” Within about an hour, Lanegan and written words and recorded vocals for two of the instrumental tracks Marshall had written and recorded at Mount Sion Studios in Kent UK. Interestingly, the music Marshall had written had managed to fit perfectly with the direction Lanegan had been thinking of for some time — an expansion of the Krautrock-inspired electronic sounds and textures of his previous two albums Blues Funeral and Phantom Radio. Eventually Marshall wound up co-writing six of the album’s 10 songs with the remainder of the album being written and produced by Lanegan’s longtime collaborator Alain Johannes at 11AD Studios in West Hollywood.

As the story goes, everything was polished and finished within a month, which has been unusually fast by Lanegan’s recent standards. “I definitely feel like I’m a better songwriter than I was 15 years ago,” Lanegan stays in press notes. “I don’t know if I’m just kidding myself or what, but it’s definitely easier now to make something that is satisfying to me. Maybe I’m just easier on myself these days, but it’s definitely not as painful a process, and therefore I feel I’m better at it now. But part of the way that I stay interested in making music is by collaborating with other people. When I see things through somebody else’s perspective it’s more exciting than if I’m left to my own devices.”

Gargoyle‘s second and latest single “Beehive” pairs Lanegan’s imitable boozy, growling baritone vocals with a bluesy and swaggering production featuring shimmering guitar chords and enormous tweeter and woofer rattling beats, essentially pushing Lanegan’s recent forays into the blues into the 21st Century; but in a way that feels both warmly familiar and yet new.