Secret Meeting score: 70
by Joseph Purcell
From the very first strains of ‘See the blood on the magazine’ on single How It Can Be, the debut album, Hollow Ground, from Brooklyn based musician Max Clarke oozes with a waltzing relaxed pop glow more akin to the 50s and 60s than summer 2018. This, Clarke’s first album under the moniker Cut Worms, a name inspired by the poet William Blake, and follow up to last years well received, Alien Sunset EP, bristles and brims with sunshine sounds. Wearing his influence as a badge of honour rather than shying away from them, Clarke brings together the country of Glen Campbell, with the pop croon of the Everley Brothers and the spiky rock of Buddy Holly, to create an album of promise. And could very easily – in parts – be taken from an under appreciated cult collection you may have been recommended at your local independent record store.
Opening track, How It Can Be, sets the tone – the falling sounds of circus instruments ushers in second track, Coward’s Confidence. With a signature 60s fuelled vocal, it’s a whimsical heart-warming track about smiling girls and life dreams, reminiscent of an era past, yet still sounding fresh. Complimented by the booming brass sections and ooze of big band trombones, the notable production skills of Foxygen’s Jonathan Rado (Father John Misty, Alex Cameron, The Lemon Twigs), adds an extra layer to the songs and bring a gleaming, yet subtle sheen, to the record, ensuring it doesn’t fall flat or feel like a novelty.
Two tracks from 2017’s Alien Sunset EP make an appearance on Hollow Ground, both refreshed and re-cut. Don’t Want to say Goodbye is the track that the endless stream of noughties’ bands prefixed with ‘The’ (The Stands, The Bees etc), wished they had written, but ultimately failed, whereas Like Going Down Sideways, is a slower affair, blending the feel of west coast sixties pop sunshine with the fuzzy lo-fi production, in a partnership that compliments superbly.
Think I Might Be in Love feels tiresome as it follows a seemingly identical formula to several earlier tracks, and the barrage of similarity in the latter half does detract from the early promise. Together with lyrical content that often feels designed to compliment the music rather than speak out, this does create a slight issue for Cut Worms, however, there is plenty of promise and plenty to admire on a fun filled debut.
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