Tag: Tom Waits

Currently comprised of founding trio Jack Lantern (vocals), James Burgess (guitar), and Tom Pitts (guitar) with new additions Victor Jakeman (bass), Tom Pitt (drums) and Sev Black (keys), the London-based punk act Claw Marks can trace their origins to when its founding trio were in Austin, TX for SXSW with different bands back in 2013 — Lantern and Pitts were members of Human Hair, while Burgess was a member of Boneyards. As the story goes, Lantern, Burgess and Pitts got lost waling down a highway in the Texan desert when they came to the realization that they wanted to make something much more aggressive, that would channel the likes of Swans and The Birthday Party, but while maintaining the pop sensibility that won Human Hair attention. Ultimately, they felt the need to prove that you can make records that could sound like The Jesus Lizard or The Pop Group — without taking yourself too seriously.

For several years, the band primarily existed as a live outfit, playing raucous, riotous shows across their native London — including a memorable 3am first gig at an abandoned pub. “It was my birthday, and intoxicants may have been involved,” the band’s Jack Lantern recalls. “The show cemented us as a band, because we were playing in the confines of a place that was so similar to the spine of what we were trying to put across. The place was dilapidated, the walls were falling down, and when we started playing, the ceiling started shaking, and dust was raining down on us. And then somebody let off a fire extinguisher halfway through the set, and we were covered in dust and foam.”

With the addition of Jakeman, Pitt and Black, the band continued to develop their overall aesthetic, balancing a chaotic live, stage presence with very specific ideas about lyrical imagery and content. “It’s abotu putting weird images to song,” Lantern, who is also a poet says in press notes. “Usually, they’re a bit disgusting – an armpit full of lice, for example. Or a crab covering your arsehole and stopping anybody from trying to climb in there. We’ve got one song about evil, silent cops staring us down while rubbing their truncheons in their mouths. You know, that kind of thing.”

However, their debut album together has taken five years to write and record — with some of the songs dating back to when the band first started. The members of the band kept returning to East London’s Sound Savers Studio, where they were afforded time and space by co-owner Henry Withers, who was a former bandmate of Lantern’s, to continually refine the material, and eventually their overall sound. In fact, every time they returned, the songs evolved in a rather unpredictable fashion. “I’ve been telling people that the album aged like a fine wine, because it took so long to come together,” Lantern says. “But actually, I’d liken it more now to a slab of rotten meat. We allowed it to fester, and every time we came back to it, there’d be more flies buzzing around it, and this new form of bacteria growing on the chords.”

Ultimately, Claw Marks long-anticipated full-length album Hee Hee reportedly is an unapologetically and nasty collection of punk rock songs that thematically speaking range from the absurd to the political — but much like Tom Waits, the songs having a fucked up, off-kilter, whiskey-fueled vibe. “Swallow U,” Hee Hee‘s latest single is noisy and furious punk rock centered around distortion bathed guitar chords, forceful drumming and howled lyrics and while sonically, the song brings to mind Rollins Band‘s Weight and Get Some Go Again but with an absurdist bent, as the song according to the band is literally about a man who walks down the street, eating everything in his path. What makes the track intriguing to me is the fact that it effortlessly meshes art rock with furious, mosh pit friendly punk.

 

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New Video: The Classic Soul Sounds and Visuals of Nick Waterhouse’s “It’s Time”

Nick Waterhouse is a Santa Ana, CA-born, San Francisco, CA-based singer/songwriter and guitarist, who first took up gutiar when turned 12. And as teenager, he found himself increasingly interested in more obscure and ecletic Americana and blues outside of the pop and contemporary rock his peers were listening to; in fact, he’s cited Bert Berns, Mose Allison, John Lee Hooker and Van Morrison among his earliest musical influences. However, Waterhouse’s musical career started in earnest when he was a member of an Orange County-based band Intelligista, an act that was compared to The Animals and High Numbers-era The Who. After the band split up, Waterhouse went on to attend San Francisco State University — and while studying, he continued pursuing music with very little luck.

As he was purising a music career, Waterhouse was simultaneously getting more involved in San Francisco’s DJ scene; in fact, he had quickly become a fixture at tthe all-vinyl Rooky Ricardo’s Record Shop eventually taking up a job with the store. Publicly, the San Francsico-based singer/songwriter and guitairst has cited that his time working under the store’s owner, Richard Vivian was deeply influential, as it put the then-aspriing musician i touch with the city’s soul club scene — while developing a friendship with The Allah-Las’ Matthew Corriea.

His debut 7 inch “Some Place”/”That Place” was recorded at the Distillery Studio in Southern California with backing band billed as the Turn-Keys, featuring The Fabulous Souls’ Ira Raibon on saxophone. The single was hand-pressed with letterpress printed labels, and because of the single’s overall response and its rairty, collectors have snapped it up. And on the strength of that single, Waterhouse was able to assemble his own backing band The Tarots and a trio of backing vocalists The Naturelles, with whom he played shows with Ty Segall, The Strange Boys, White Fence and The Allah-las. And in between touring across North America and Europe, the California-based singer/songwriter produced The Allah-Las 2012 debut effort. He then followed taht up with the release of his first two singles as a frontman and bandleader.

Waterhouse’s third full-length effort, Never Twice was released earlier this year thorugh Innovative Leisure Records and the album finds him collaborating once again with producer Michael McHugh, who has worked with Black Lips, Ty Segall, and The Allah-Las. As the story goes, McHugh was Nick’s first producer — and as Waterhouse was about to record the material that would comprise Never Twice, Waterhouse enlisted McHugh to recrate and capture the sound of Nick’s youth while in bands in Huntington Beach.

After McHugh was on board, Waterhouse being calling his favorite musicians to join him — Bob Kenmotsu, who contributed his flute; Ralph Carney, who has played with Tom Waits and Elvis Costello contributed sax; Will Blades, a protege of Dr. Lonnie Smith, contributed organs; a highly-accomplished batch of horn planers, bassists and guitarists join in; and Leon Bridges contributed vocals on the album’s lead single “Katchi.” The album’s latest single “It’s Time” will further cement Waterhouse’s burgeoning reptuation for crafting old school, jazzy soul with an incredibly uncanny period specificity — in this case, sounding as though it were released in the mid 1950s/early 1960s, thanks to a careful attnetion to craft while adding his name to a growing list of contemporary artists, who specailzie in the classic soul sound.

Directed and edited by Laura-Lynn Petrick, the video shot on what apears to be old Super 8 Film, and follows Waterhouse as she wanders around New York and features live footage of the Californian and his backing band playing live sets — and with the grainy, old-timey footage, it adds to the song’s old school aesthetic.

Daniel Cartisano is a Sydney, Australia-based electronic music artist, producer and vocalist, and his solo recording project MK Grands draws from a diverse array of influences including Tom Waits, Arca, Bon Iver, and Flying Lotus, and in a relatively short period Cartisano has received praise and attention nationally and internationally through features on Triple J‘s Unearthed, HillyDilly, French publications Teez FM and Pause Musicale and GQ Magazine UK among others for a icy and broodingly atmospheric pop sound.

Building on the national and international buzz that he has already received, Cartisano will be releasing an EP at some point in the near future — but in the meantime, his latest single “Hold You Down,” is a sparse track that pairs ominously swirling and icy synths, glitchy beats and Cartisano’s plaintive falsetto as the song slowly builds up with a layer of cascading synths that appear towards the song’s last 45 seconds or so.

The song is centered around the deeply conflicting and intense feelings shared by two people, who are trying to leave each other after being together for a considerable period of time. In other words, it captures the strange push and pull sensation of desire, longing, revulsion and contempt that can frequently come about in long-term relationships. But at the core of the song is the sense that it comes from a deeply personal experience — one that’s paradoxically almost universal for anyone, who’s been in a long-term relationship.