Posts Tagged ‘Cut Worms’

RSTB Best of 2018

So, it seems that 2018 is finally coming to an end. It’s been a hell of a year by most standards, but musically its been damn entertaining. Perhaps its fair that there’s some bright spot in all the chaos. Not to diminish the chaos, but when the negativity is at an all-pervasive fever pitch, its feels good to have something to hold onto. I’ll choose to remember 2018 as a banner year for music and for the birth of my second daughter rather than the year that page refresh politics threatened to give me an ulcer any day. Below are my favorite albums of the year, taking care to highlight some that might otherwise get forgotten. They’re in (quasi) alphabetical order with no other particular weight on the list. Keep your eyes out for a few more year-end features this week before I reset for the new year. As always, thanks for sticking with RSTB for these 12-odd years or so.

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Cut Worms

On his debut proper for Secretly Canadian Max Clarke invokes swooning ‘60s doo-wop, country shimmer, a dash of Danny Elfman’s quirk and plenty of love for The Kinks. Hollow Ground is particularly steeped in the Muswell Hillbilies era of the latter band, creating characters that are rough around the edges, but easy to love. He’s a storyteller in the country tradition, with few of his heroes coming out unscathed, but these tear-in-beer anthems find themselves in more precious terrain than hardscrabble hollows. While his shiny, shaggy country-folk cold easily find a kindred spirit in the likes of Sonny and the Sunsets and perhaps even slide after Beechwood Sparks on your infinite alt-country playlist, Clarke is crafting turn-key dioramas that are stuffed with moving parts that all seem to delight the listener rather than overwhelm the sense.

He’s crafting calliope wonderlands on “Cowards Confidence,” sweeping out a bar room tear-jerker on “It Won’t Be Too Long” and evoking the heartfelt warmth of John Denver or Neil Diamond on “Like Going Down Sideways.” The record flips the dial around enough mid-60s pop nuance it could practically qualify as a Wes Anderson soundtrack, all that’s missing are a few interludes from Mark Mothersbaugh. And just as often as the films connected to those soundtracks, Hollow Ground is a splash of colors, intricate draping and meticulous craftsmanship housing characters with a heavy heart and more than a dash of ennui.

Clarke’s skill is apparent here and its an impressive album for a debut – If this is only the start, one has to wonder how far he’ll go in time. Come for the whimsy, stay for the endlessly enjoyable songs that burrow deep with earworms and just a touch of aural pizazz.



Support the artist. Buy it HERE.

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Cut Worms’ Max Clarke on Leonard Cohen’s – Death Of A Ladies’ Man

Sometimes an album can sucker punch you in the best ways. After hearing Cut Worms’ first EP I was prepared to know what to expect from a full length. It seemed like an extension of the folk pop from that short format would follow, but instead the band’s Max Clarke shines with an album of country pop that’s on par with Sonny Smith’s dry-wit and easy hooks. The record is a refined affair that shows an artist growing exponentially from his early works and it makes me excited for what’s to come from him down the line. Clarke makes a pick here for the site’s Hidden Gems series, singling out Leonard Cohen’s unlikely team-up with Phil Spector as a a diamond among the artist’s usually worked over and oft analyzed catalog.

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