New York City musician Vanderwolf has released his stunning debut single today via Proper Music. Lead track “When The Fire Grows Cold” is a piano-led cinematic nightmare-lullaby co-sung by the legendary musician-activist Robert Wyatt. The second track, “Extinction!”, is a 7-minute Balkan-brass psychedelic fantasy featuring the late Soft Machine/Gong guitarist Daevid Allen and Terry Edwards (PJ Harvey, Lydia Lunch, Tindersticks) on saxophone. These two epic tracks capture the polarities of Vanderwolf’s vision: one song precise and quietly disturbing, one sprawling and transcendent.
By Kamil Bobin
Discovered via Musosoup
What first got you into music?
I grew up with it all around me. Breathed it in, ate it up. The Beatles, Creedence Clearwater Revival, Motown, Simon & Garfunkel were in the air in our house, in our car, just permeating the air. You’d have to be dead not to get into music with a steady diet of these great and seductive sounds.
What do you think your role is in this world?
Well, being a father is my fall back position. If I manage to fulfill that role, I’ll be satisfied. The rest is secondary and illusory - or alternatively playful -- or simply practical.
Your debut single is 'Extinction!'. Can you share with us the background of its creation and did any unusual things happen during its creation?
“When the Fire Grows Cold” was an idea that went back to living in NY. I worked it out on my piano as best I could but every time I sang the verses, I wanted to hear Robert Wyatt’s voice, not my own. Wyatt was a mythical figure to me. I had produced a tribute concert as part of a 2-night programme in NY at the Knitting Factory. Peter Blegvad, Fred Frith, John Greaves, Karen Mantler, Hugh Hopper, Daevid Allen and Kramer all appeared. It was a tremendous success but Wyatt stayed mythically in his retirement in the north of England.
A couple years later, I was asked to oversee the Meltdown Festival in London and I asked Robert Wyatt to curate. It would require that he come to London and host the festival. Although he had not performed in many years there were 2 moments in which he did sing publicly - including David Gilmour’s triumphant solo concert. From this work experience a friendship grew and Robert, his wife, artist Alfie Benge and I kept in touch.
And finally I worked up the nerve to ask him to sing this song. It was astonishing when he said yes. But he could hear himself singing the part. He liked the idea of singing about fathers and his own father. A dream realised.
“Extinction” was a massive undertaking from start to finish which would not have been possible without the endurance and creativity of drummer/producer Chris Wyles. Recording at his Camberwell studio in south London - no idea was too far-fetched for Chris to examine and help me realise.
“Extinction” was written as a kind of response to years of performing in festival tents and a sense of experimenting with the idea of interjecting unusually existential or political content into the music. We had a reputation of stirring up a festival tent into a frenzy. And at the time I was listening to Balkan music, Gypsy music and I had produced a concert called,'' Gypsy Kings and Queens'', which featured the great singer, Esme Redzepova. I began to see connections between Balkan music, psychedelic music and trance.
The extended midsection of the song would require a very particular instrumentalist so I turned to my hero and dear friend, Daevid Allen- legend of the phenomenal band Gong. Daevid’s spectacular glissando guitar elevated the track.
I had a great time coming up with those horn arrangements and decided to give the amazing Terry Edwards the last word at the climax of the song closing us out with a kind of Albert Ayler end-of-time statement.
What is one message you would give to your fans?
Don’t stop listening- really listening. Music deserves your undivided attention. It’s an essential part of a steady experiential diet. The world, or the culture, seems to be diverting people from really listening and really reading. So books and albums are ever more sacred spaces.
How do you spend your time?
Rehearsing, practicing, writing - hopefully.
What are you most proud of?
Well fortunately there’s been quite a bit to be proud of. But in terms of the music - I had so much heaped upon me the last few and just getting this music out there is feeling pretty damned good.
If you could go open a show for any artist, who would it be?
The Beatles.
What are you doing to ensure you continue to grow and develop as an artist?
Most of my music is written as an exploration of what I’m learning whether it’s on guitar or piano. The more I study and practice the more likely musical ideas will emerge. So I need to really practise, study and explore.
Do you think that technology is improving lives?
Technology is a stick you found on the ground. You can use it to dig out bugs from the dirt and feed yourself. You can give it to another as a gift or you can poke someone’s eye out. That’s technology. These days there’s a whole lot of eyes being poked.
What are your plans for the future?
I’m in New Orleans. I’m gonna see/hear all of music down here, eat a lot of food and walk for miles. I hope to leave in one piece. That’s good for now. Then I’ll go back to LA to finish recording my next album.