Rain Dogs Revisted: A rustic masterpiece celebrating bedlam & squalor

They constantly remind us that there’s a fine line between madness, and for many, Tom Waits has effectively straddled this line like a champion rodeo clown. His previous release, ‘Swordfishtrombones’, saw the former jazz-balladeer deconstruct his own songwriting approach, complete with a rotating ensemble of unfamiliar instruments that you’d expect to find at a salvation army band jumble-sale. Rain Dogs coherently rebuilds the formula- its inseams stitched with that same thread of madness- as playful as it is confrontational. 

Like a boozy stagger through a late night side street- the album weaves its way through Oompa clad tales of shore-leave debauchery, resentful polkas detesting decrepit and dysfunctional relatives, and klezmer strung homages to the homeless. Opener ‘Singapore’ lifts anchor for a shipping lane of absurdity- ‘We sail tonight for Singapore- we’re all as mad as hatters here!’- and with Waits wailing about one armed dwarves and drinking sessions with chinamen, you more or less believe him.

Theres no safe territory for the listener. One minute you’re deep in the hip-swinging conga grooves of ‘Jockey Full of Bourbon’ (arguably the records slickest number), the next you’re weeping into a tankard on track ‘Time’, a ballad about a drunk who believes he’s Napoleon. 

Yet ultimately, through all the bedlam and chaos, you somehow connect with it as a microcosm of real life- stories of marginal characters, the bungled and the botched; like dogs whose scent markings have washed away in the rain- rendering them lost and homeless.

Even with his reconstructed songwriting approach, Waits still manages to wield his hallmark phraseology throughout. Downtown Train (later made a hit by Rod Stewart) shares the same genetics as earlier songs ‘Jersey Girl’ and ‘Invitation to the Blues’, evoking nostalgia for memories that were never even yours; ‘Another yellow moon has punched a hole in the nighttime, I climb through the window and down to the street, I’m shining like a new dime’.

“Where others see the mundane, Tom Waits sees the magic”

The lesser romantic among us would find the prospect of having to meet your other half at a train station generally inconvenient. But where others see the mundane, Tom Waits sees the magic.

And what magic it is. Marimba- an instrument which shares all the appealing aesthetics of laminate flooring- leads the instrumentation on ‘Clap Hands’, and played as such to feel as if someone has hollowed you out to play you like a skeletal orchestra. ‘Sane, sane, we’re all insane’, Tom sneers through gritted teeth. By the end of it, we might just well be. 

Pedal to the Metal: Fraser Edwards is Flooring it

With a Youtube account boasting viewing figures into the millions, international tours and a Universal distribution deal, the irons are hot in the power metal fire for Fraser Edwards. Before he strikes London, I catch up with him at his Leeds residence to talk music.

Its been a busy couple of years for Edwards, now 29, and it seems he’s on an ever evolving mission to add more strings to his bow. “The role of a musician in general has kinda changed, you need to do more stuff” he tells me. A fair statement, though you do wonder if the sentiment is spelt out every mealtime in alphabet spaghetti. Artist, producer, guitarist, videographer, mastering engineer, animator (it goes on). He first cut his teeth in the power metal scene as the guitar shredding virtuoso in Aberdeen outfit, Ascension. They released their debut album, ‘Far Beyond the Stars’ on Japanese label ‘Spiritual Beast’ back in 2012, which went on to sell a shit-load of copies out there. It gave him the springboard to immerse himself in the industry; the ember of the fire for his many irons (the bands sequel, being one of them).

“I’ve never experienced anyone that’s too fun… is that possible?”

It’s two weeks since he landed back on British soil from his tour of Germany with Swedish rock outfit, Captain Blackbeard. He still looks haggered- like he needs to be taken out back and given a ‘twice over’ with a wicker dustbeater. “I got ill because in all the bars there, people are smoking and I’ve got asthma. Also you’re drinking like, every day and you don’t get that much sleep”. I wonder if I’ve come on the wrong side of the tour- he might be physically derelict but his passion still pushes through; “I was really lucky to be touring with them, because they’re all so much fun to be around”.

Too much fun, I suggest? 

“I’ve never experienced anyone that’s too fun… is that possible? Wait, maybe thats me! I did seem to be having a lot more fun than everyone else on that tour”. 

Its a tongue in cheek remark that you really can believe when you see the tour videos. In one of them, he’s downing beer from a skull. In another, he’s strumming his guitar onstage with a big pink vibrator, intermittently raising it like the Jules Rimet. The audience go wild. I ask him about that and he bashfully pauses to recollect, as if he has to summon the psyche of a dildo wielding demon. 

“I mean, I could do the most insane, sweet picked arpeggio, play the fastest solo ever at 30 notes per second or whatever, but then you just whap out a pink dildo and you get a better crowd reaction than doing all of that!”

Its been 3 years since his solo debut, I Am God (again, selling exceptionally well in Japan). Its follow up, ‘The Architect’ will be unleashed this summer. Fraser spent the most part of December mastering the record at the infamous Fascination Street Studios in Stockholm (reknowned for the likes of Baby Metal, Dragonforce et al). “It was cool to work with Tony again. He’s worked with a lot of top acts that I like so I learn a lot from him”. His first album was 9 years in the making, and I wonder how the output differs in the relatively short timespan: “[I Am God] was kind of like a collection of songs. This one’s more focused on being an album.” He replies, with the kind of adamance born out of hard work and maturity. “It’s a better product overall. I just want to get it out there so I can do something new!”

“It’s a good feeling to learn that you’re good at something.”

Not that it’s been stopping him, mind. He’s dedicated a large chunk of the last few months honing his newfound skills in animation- creating a cartoon spin-off of the hugely successful Sharky Sharky- a children’s shark-themed rock band created with other members of Ascension. The bands’ catalogue of marine-themed tunes has brought about a worldwide following of brooding metal-heads, as well as the group winning a pride of Aberdeen award and appearing on STV. “We’re still trying to figure out how it’s going to be released, but it’s been satisfying to learn a new skill. It’s a good feeling to learn that you’re good at something”. 

Fraser already has his sights on his next venture as he contemplates his relocation to London later in the year; “I’m thinking of going into the video-game audio industry. I know some people and they seem to be having a good time with it”. I ask him what he makes of the Leeds scene after the year he’s spent here, and he replies in a moment of self amusement: ““Honestly, I’ve hardly left the house”. It’s hardly surprising given the amount of projects he’s had on the go. “I’m really happy just continue what I’m doing but in London, so I’ll see what opportunities arise”

Paying homage to a cliché closing question, I ask him what he’d pick as a career highlight. His gaze locks in pondering sincerity. He runs his fingers through the remaining threads in his torn jeans, as if he’s combing the haystack for a needle of an answer. The clock ticks out like a dripping tap before he returns his gaze and answers, “I’ve done nothing”. 

Ryan Adams cancels tour after sexual misconduct allegations

Atticus McGivern | March 1st, 2019

Ryan Adams’ scheduled UK and Ireland tour has been cancelled, following a series of sexual misconduct allegations made against the American singer-songwriter.

A statement was released on the official Ticketmaster twitter account, ensuring that ‘Full refunds to ticket purchasers from authorised outlets will be processed’. The announcement comes less than a week after reports that the planned release of Adams’ upcoming album ‘Big Colors’ will not take place. 

Claims made against Adams, 44, were publicised in a New York Times report outlining testimonies from numerous women, including Adams’ ex-wife Mandy Moore and country musician Phoebe Bridgers. 

In the report, Moore described how Adams’ ‘Psychologically abusive’ behaviour manipulated her creative output: ‘His controlling behaviour essentially did block my ability to make new connections in the industry’. The actress and singer also appeared on the podcast ‘WTF with Marc Macron’, where she discussed her 7 year marriage to the musician; ‘It was so untenable and unsustainable and it was so lonely…I was lonely with him’.

Bridgers also gave her account on Adams’ inappropriate behaviour. Bridgers, 24, first met Adams in 2014 when he invited her to perform for him at Pax-Am studios in California. From there, Bridgers claims that the two started a brief romantic relationship before Adams’ behaviour turned controlling and emotionally contemptuous- harassing her with abusive text messages and threatening with suicide if she did not reply. 

Another woman- also featured in the New York Times report- alleged that she and Adams exchanged more than 3,000 messages between 2014 and 2015 when she was just 15 years old. Some of the communication between the two, which includes photographs, is said to be explicit in nature with the woman (known only as Ava) testifying that Adams’ once exposed himself on webcam. Given the nature of the allegations and the age of the woman at the time, the F.B.I. have now launched an enquiry in concordance with state laws in Ohio and New York. 

Adams’ has denied all allegations through his lawyer Andrew Brettler, who said the claims were ‘Grousing by disgruntled individuals’ who blamed Adams for ‘Personal or professional disappointments’. 

Ryan Adams tour cancelled: but I’ll still listen to his music

  Musician scraps his album and tour after allegations of sexual misconduct

Its a sad truth that the cyclical exposés of male entertainment figures is something we’re starting to get used to. It seems just as the heat burns off of one scandal, so dawns another. And another. Until the periods of outrage slowly slouch into intervals of expectation. 

In the rotation this month is Ryan Adams, whose history of misogynistic and sexually exploitive behaviour has been outed by a report in the New York Times. It details accounts from several female figures in the industry; with accusations ranging from sexual misconduct to child sex offences. 

And so the twitter-sphere became awash with condemnation, with many furious fans demanding refunds for his upcoming U.K. and Ireland tour. Some frustrated ticket-holders took to tweeting venues directly, such as user @isthiscraig tweeting the Royal Albert Hall (where Adams’ was due to play two nights), ‘Considering the news about Ryan Adams, are you able to refund tickets for his shows in April?’.  

Their left-wing longings were acquiesced yesterday as Ticketmaster announced the cancellation of the tour on their official Twitter page, with patrons being issued a full refund. The move has been welcomed by many, although some users have vocalised their dismay; ‘Damn. Was hoping to pick up a cheap ticket from a snowflake…’ tweeted Andy Evans. 

Although my white male privilege practically renders me unqualified to discuss these matters, I feel it necessary to represent Adams’ generalised demographic, if not for my own catharsis. I’ve always been able to keep my distance from disgraced figures- aside from ‘Ignition (Remix)’ being a yesteryear banger after a few coke and rums, the whole R. Kelly scandalisation was an easy pill to swallow. But Ryan Adams’ music has always yielded an emotional response from me- his debut ‘Heartbreaker’ saw me through some of my dampest-pillow days, and was one of the first I played taming the wheel as a fully qualified driver. Do I turn my back on a record that soundtracks so many personal triumphs and tribulations? Do I hold the music to account for the actions of its creator? Its an age-old question that has no definitive answer.

Regarding Ryan Adams art, I answered this question for myself a while ago. I always found him quite a detestable character- his petulant online feuds and scathing peer critique repulsed me. I’ll never be an apologist for sexual misconduct, and in solidarity for those victimised, and in condemnation for Adams’ frankly disgusting behaviour, I will never buy another record of his nor purchase a ticket to see him in concert. He’s already being black marked on various airwaves in attempts to sanitise their output, and rightly so- but like the resounding point of Roland Barthes’ ‘Death of the Author’ essay- the music and relational memory symbiosis will be forever mine.