Posts Tagged ‘Cut Worms’

A modern classic with a timeless sound! Filled with hooks and great lyrics the result is a 17 track beast of superb song-writing!, The shopping malls have closed down, the dressing rooms are filled with ghosts, and the carousel is covered in cobwebs. “Nobody Lives Here Anymore”, the latest and greatest from Max Clarke as Cut Worms, is the haunted reverie of an American landscape in-and-out of Clarke’s mind. Recorded between May and November 2019 in Memphis, Tennessee, the album is a snow globe of the mid-twentieth-century’s popular music filled with chiming guitars, honky-tonk pianos, and Telstar organs.

A constant creator – be it his Cut Worms alter-ego or his day-job illustration work (designing brand logos and beer labels with madhouse technicolour pictures) – writing and making records has always been Max’s driving force. So after an extensive eighteen-months of touring in support of 2017’s Alien Sunset and 2018’s Hollow Ground, he set about sifting through the fragment pieces and sketches of tunes he’d accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. By the time he flew to Memphis to work with producer Matt Ross-Spang at Sam Phillips Studio, he’d stockpiled more than thirty new songs.

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A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbour love and meaning inside a world that sold itself out. He explores the wistfulness of the past in search of answers for tomorrow. And while his grand anthems overflow with timeless pop charm, his ability to dig deeper than lollipops and holding hands sets his work apart from the days of 45s and Top of the Pops.

Released October 9th, 2020

It is October 9th already. Where’d the year go? Oh yeah…… well As of midnight, my double record album “Nobody Lives Here Anymore” is now officially released. Being “born” today, this album shares a birthday with John Lennon who would’ve been 80. That wasn’t intentional but I‘ll take it, seems like a good omen. It’s strange and a little unsettling to be releasing a record right now (not to speak of simply being alive right now)—No shows, no parties no getting together… alls quiet on that front. But quiets good for listening to records. and now’s the best time for this one. I suppose it could easily get lost in the shuffle—There’s certainly more important things going on in the world—but I do hope this thing gives some love and light to those whom it reaches. I agree with Mr. Lennon when he said “love is all you need.” Lord knows we need it. Thank you very much to everyone who helped make this record happen and to everyone who continues to follow what I do and give your support. I appreciate you. To everyone who still Lives Here… Be well… Love, Max (Cut Worms)

Brooklyn-based songwriter, Max Clarke, the man behind Cut Worms, is set to unleash his latest set of tracks into the world with next week’s release of new album, “Nobody Lives Here”. The follow-up to 2018’s acclaimed second album, Hollow Ground, Nobody Lives Here was recorded at Sam Phillips Recording Studio in Memphis, Tennessee with producer Matt Ross-Spang. Ahead of that release, this week Max has shared two new tracks from the record, “Veteran’s Day” and “Walk With Me“.

As with the previous offerings from the record, both Veteran’s Day and Walk With Me showcase the more immediate approach to recording adopted for this record. Both tracks channel Max’s penchant for nostalgic-Americana; Walk With Me in particular wouldn’t sound out of place alongside Frankie Vallie on a 1960’s diner jukebox. Veteran’s Day is perhaps the more intriguing of the two; a delicious piece of unhurried folk-pop, all languid echoing piano and easy sun-dappled guitar lines, as Max sings a tale of love and disillusionment. You can almost feel him growing older as he sings, “caught up in my dream, you won’t get free, you start to get the feeling you’re lost out at sea.

Tell all the old men stop telling tales, nobody really believes in chasing white whales”. Cut Worms have always sounded like they’re from another era, here more than ever they seem to offer a perfect snapshot of the past heyday of the American dream, even if he’s far too young to remember that – right now we might all need that moment of rose-tinted escapism.

Nobody Lives Here is out November 9th via Jagjaguwar Recordings

Max Clarke, aka Cutworms returns with “Castle in the Clouds,” and an accompanying video. Clarke wrote “Castle in the Clouds” in April 2019, after tours supporting his 2017 EP Alien Sunset and 2018’s Hollow Ground. The songs came quick, then, too many to count. Eschewing demos for in-studio spontaneity, he finished “Castle in the Clouds” on a flight to Memphis, TN, and then recorded it the next day at Sam Phillips Studio with Matt Ross-Spang (John Prine, Jason Isbell, Margo Price). The resulting track is somewhere between a lonesome cowboy lullaby for the restless, and a doo-wop sci-fi elegy for the daydreaming teenagers of Mars. Its video, homemade by Clarke, pulls together luminous animations and mid-20th century stock footage.

Cut Worms, moniker of Brooklyn-based singer/songwriter and multi-disciplined visual artist Max Clarke, announces his new double album, “Nobody Lives Here Anymore”, out October 9th on Jagjaguwar Recordings. Today, he presents two new singles – “Sold My Soul” with an accompanying video and “God Bless The Day.” Nobody Lives Here Anymore is the haunted reverie of an American landscape in-and-out of Max’s mind. Recorded between May and November 2019 in Memphis, Tennessee, the album is a snow globe of the mid-twentieth-century’s popular music filled with jangling guitars, honkey tonk pianos, and Telstar organs.

“‘Castle in the Clouds’ was the first one we did,” says Clarke. “I remember being in the studio, thinking the control room looked like the bridge on a spaceship. It reminded me of the old Carl Sagan Cosmos, where he’s kind of hovering above, transporting you across the universe. I always really liked the theme song. I think that spirit found its way onto the recording.”

Max immediately started writing material for his sophomore LP after an extensive eighteen-months of touring in support of 2017’s Alien Sunset and 2018’s Hollow Ground. Mining his life-long devotion to the lost American songbook for inspiration, he stockpiled nearly thirty new songs  Unlike earlier works that were meticulously demoed, Max opted for rough drafts to capture something more immediate and honest. Most of the initial takes were tracked live with Noah Bond on drums, while Max sang and played rhythm guitar. Max then built lush arrangements around these intimate performances. A skeleton crew of friends and Memphis all-stars were called in to lay down pedal steel, sax, and strings. When all was said and done, they had recorded 17 new cosmic Americana gems.

“Sold My Soul” and “God Bless The Day” follow previously released singles “Unnatural Disaster,” “Baby Come On,” and “Castle in the Clouds.” “Sold My Soul” takes a look back and ahead at the choices we make, with a thinly veiled punchline to soften the blow. Over jaunty guitar, Max’s voice is expressive as he sings “I sold my soul somewhere so long ago // Oh I didn’t think too much at the time I was young and I didn’t know // oh till I saw it late one night on the antique road show // expert collectors to appraise.” The accompanying video, directed and shot by Caroline Gohlke on Route 66 from Chicago to Oklahoma, captures the aura of stumbling through a deserted time.

Max sees this record as a figurative shot across the bow to the modern attention span. He says Nobody Lives Here Anymore is about “throwaway consumer culture and how the postwar commercial wet dreams never came true, how nothing is made to last.” He considers the golden years of a society on its last leg with poignant curiosity, suggesting not only that nobody lives the American dream, but that nobody lives here, in this moment, anymore. “It’s about homesickness for childhood, for a place that never really existed,” says Max.

A loss of innocence lingers through this 80-minute opus as Max attempts to harbour love and meaning inside a world that sold itself out. While his grand anthems overflow with timeless pop charm, his ability to dig deeper than lollipops and holding hands sets his work apart from the days of 45s and Top of the Pops.

“Nobody Lives Here Anymore” the new album by Cut Worms out now on Jagjaguwar Recordings.

Cut Worms Nobody Lives Here Anymore

Brooklyn act Cut Worms (aka Max Clarke) released a new double album Nobody Lives Here Anymore via Jagjaguwar. Clarke says the album grapples with “throwaway consumer culture and how the postwar commercial wet dreams never came true, how nothing is made to last.” There is a powerful old-timey atmosphere in these songs, and they reverberate with the feeling of road tripping in the South.

Ahead of his forthcoming album Nobody Lives Here Anymore, Cut Worms (aka Brooklyn-based singer/songwriter Max Clarke) has shared two new tunes: single “Every Once In A While” and b-side “The Golden Sky.” Clarke also released two lyric videos, with the words appearing on a retro label of a vinyl record. “Every Once In A While” features subtle thumping drums and calming vocals, making for stunning country-tinged single. “I’m just watching all the clouds go by / Just like clock hands, on the face of the sky” is just one of the imaginative scenes Clarke paints in the song.

A new single of mine is out today. Available on all of the streaming platforms or to purchase downloads. Hope you will enjoy.

“Every Once In A While” from ‘Nobody Lives Here Anymore’ by Cut Worms, out on Jagjaguwar October 9th, 2020

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A couple old unreleased tracks are out now: A version of “Alien Sunset” that was Cut from “Hollow Ground” for reasons I don’t recall. features @jonathanrado (who also produced it) on Drums, percussion, and I think some keyboards? and a demo called “Conspiracy Theorist Blues”

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released May 1st, 2020

Alien Sunset recorded July 2016 Los Angeles, CA at Dream Star Studios
outtake from JAG310 LP Hollow Ground

Produced by Jonathan Rado
All instruments and voices, Max Clarke
except drums, percussion, keys Jonathan Rado

Cut Worms is the nom de plume of songwriter Max Clarke, whose debut LP will seduce you right off the bat with its sparkling opening track, “How It Can Be.” With his intimate indie voice and facility for instantly memorable melodies and guitar lines, Clarke conjures a kind of garage-tested Everly Brothers, reminiscent of early Shins, with breezy pop ballads just tart enough to soundtrack lonesome summer days. Hollow Ground was recorded in the L.A. home studio of Foxygen’s Jonathan Rado, and in New York with Jason Finkel at Gary’s Electric. Check out the animated video for “Don’t Want To Say Good-bye,” and prepare to hum it for the rest of the day.

“Don’t Want To Say Good-bye” from debut LP “Hollow Ground” out May 4th on Jagjaguwar

Tons of Everly Brothers and Buddy Holly in Hollow Ground, which flies in the face of present day music. What’s wrong with this one man band Max Clarke and his compulsion of a bygone era? Who cares, when it sounds this good.

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“Cash For Gold” from debut LP “Hollow Ground” out May 4th on Jagjaguwar Records

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Cut Worms is the nom de plume of songwriter Max Clarke, whose debut LP “Hollow Ground” will seduce you right off the bat with its sparkling opening track, “How It Can Be.” With his intimate indie voice and facility for instantly memorable melodies and guitar lines, Clarke conjures a kind of garage-tested Everly Brothers, reminiscent of early Shins, with breezy pop ballads just tart enough to soundtrack lonesome summer days. Hollow Ground was recorded in the L.A. home studio of Foxygen’s Jonathan Rado, and in New York with Jason Finkel at Gary’s Electric. Check out the animated video for “Don’t Want To Say Good-bye,” and prepare to hum it for the rest of the day.

The first “official” single, Don’t Want to Say Good-bye, from the long lost/rumored/awaited Cut Worms album Hollow Ground

Brooklyn singer-songwriter Max Clarke relocated from Chicago to New York City in October 2015 and wasted no time breaking into the music scene with the release of his EP Alien Sounds in 2017. Listening to his unique style was like opening a time capsule from the ’60s and ’70s, and we were immediately hooked. Cut Worms creates a vintage ambiance that lowlights Max Clarkes’ bright and buoyant performance.

Cut Worms a carefree, wholesome sunniness that beckons to mind The Beach Boys gives Cut Worms a retro sound you didn’t know you’ve been missing.  Beatles-esque vocals, adding to the thrifty aesthetic. Cut Worms has flawlessly managed to capture the lo-fi nostalgia of a youthful counterculture, and we can’t wait to keep travelling time through his music. His full-length LP is scheduled for a May 2018 release and you can catch him on tour.

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Cut Worms has announced his debut LP via the fine folks at Jagjaguwar Records before heading down to Austin for SXSW. The lead track below, Don’t Want To Say Goodbye, conjures up The Beatles in mind. It is a really well-done pop song when pop songs weren’t shit.

Midwestern-bred, NY-based Max Clarke, aka Cut Worms, was born with a knack for conjuring fine images and warm sounds with a curious underbelly. His songs crackle with the heat of a love-struck nostalgia: golden threads of storytelling woven together with a palpable Everly Brothers’ influence and 50s/60s naiveté. Sometimes, on Hollow Ground, Clarke presents impossibly lustful characters, sometimes brooding, while in other parts they fumble along, hopeful and painfully self-aware. His songwriting both evokes and explores the raw realm of youth, but channels it through the lens of someone more restrained, who’s been through it all before.

Hollow Ground was written in NY and Chicago, and recorded in NY, and also LA w/ Jonathan Rado. Clarke plays most of the instruments throughout, including guitars, bass, lap steel & keys.

Image may contain: 1 person, sitting, hat and text

Image may contain: 1 person

The first Velvet Underground record sold only 30,000 copies in its first five years. Yet…I think everyone who bought one of those 30,000 copies started a band!” ,  The Velvet Underground & Nico has sold quite a few more copies since its release. Lou Reed and company’s DIY rock aesthetic has yet to go out of style for young audiences. Like many artists Brooklyn songwriter Max Clarke discovered the band at a young age, leading to a revelatory “I-could-maybe-do-this” experience while absorbing the complex simplicity of the band’s music.

On his forthcoming EP under the moniker Cut Worms, “Alien Sunset”, Clarke pays tribute to the frontman who opened new artistic doors to him. “Song of the Highest Tower” is a seven-minute ballad introducing the poetry of Rimbaud to the acoustic licks of Roy Orbison or the Everly Brothers and a correlative croon infused with the modern psych influence of lead Growler Brooks Nielsen. Yet at the heart of the track lies a melancholy likely attributable to the news of Reed’s passing the day the song was originally written back in 2013. “It wasn’t like, ‘OK, I’m gonna write this song now,’” recalls Clarke. “I kind of assigned that meaning to it afterward.”

It’s been a rough couple of years for young songwriters weaned on record collections inherited from their once-rebellious parents; as the Tom Petty tributes continue to pour in, and as groups like Wolf Parade slip paeans to their fallen idols into their recordings, Clarke’s tribute—although entirely more subtle—yields yet another meaningful testimony to the influence of the burgeoning American rock scene of the ’60s and ’70s. “I was just, like, writing an elegy to an artist I admired. And I always thought there was something nice about writing to or about someone who you have no chance of ever actually meeting.

Cut Worms“Song of the Highest Tower” from ‘Alien Sunset EP’ out Oct 20th on Jagjaguwar Records

Based out of New York, where he relocated to two years back from his native Chicago, Cut Worms is the pseudonym of songwriter Max Clarke. Signed to the ever reliable Jagjaguwar Records imprint, Cut Worms are hotly tipped as one of the most exciting new acts on the planet, and have this week detailed the release of their debut EP, Alien Sunset. The record showcases a collection of what could loosely be termed demos, recorded over the last few years with side A focusing on his time in Chicago and side B being his New York recordings.

Ahead of that release, Cut Worms have also shared the video to their new single, Like Going Down Sideways. The track is a beautifully lo-fi offering, Max’s multi-tracked vocals accompanied by walls of fuzzy guitars and twanging lead-lines. It’s the vocal though that is consciously pushed front and centre, like Harry Nilsson or Scott Walker before him, there’s the flourish of an old-time crooner, but lurking beneath the surface is the raw, melodic equivalent of a mischievous glint in his eye. With the debut album, “proper and polished”, due next year, Alien Sunset is a thrilling insight into the world of Cut Worms, that serves as both an introduction and a water mark for wherever Max’s music goes next.

Alien Sunset EP is out October 20tth via Jagjaguwar Records .