Cut Worms – ‘Cut Worms’ album review: breezy easy listening
Max Clarke, better known as Cut Worms, is back with his eponymous third record, which follows his expansive 2020 double LP, Nobody Lives Here Anymore. In contrast, his latest offering is much more compact, with half of the nine songs coming in at under four minutes.
In essence, the songs on Cut Worms are sweet slices of vintage pop, echoing artists from the 1960s and early 1970s, moving between the British guitar bands that defined the era and the Californian, summery tones popular across the pond. Clarke weaves between these influences with comfort, sounding perfectly at home as he sings alongside guitars that wouldn’t sound out of place on a George Harrison record.
The album begins with ‘Don’t Fade Out’, a cheery number which invites a singalong through its upbeat chorus. Yet, the album isn’t always as happy as it sounds. On ‘Ballad of the Texas King’, which possesses a bittersweet sound through its contrasting use of nostalgic guitars and upbeat drum fills, Clarke mirrors his sonic palette with lyrics which speak of life’s dichotomies. Describing the song, he said: “It’s a murder ballad, and as is common in murder ballads, deals with promise and innocence being snuffed out.”
However, on ‘I’ll Never Make It’, Clarke sings lyrics which verge on saccharine, although there’s something in the ’50s homage which you cannot hate, even if he declares overworn clichés like “My eyes can’t see without you” and “my mind can’t think without you”. The breezy guitars, paired with the simple honesty of Clarke’s claims and his charming “ohh ohh” refrains, make the song one of the album’s most memorable moments.
Elsewhere, tracks like ‘Is it Magic?’ evoke the sounds of late summer evenings with friends, with Clarke allowing the listener to sink into its delicate pace, coaxing images of a coastal town or a steady sunset. On ‘Living Inside’, subtle strings sound in the background, adding an air of romance to the track. These strings remain fairly subdued as Clarke allows his voice and summery guitars to dominate, although they tease a greater level of depth which is missing on the rest of the record.
Still, not all of the songs fall flat just because they lack an expansive quality. Rather, Clarke revels in the simplicity of his instruments, choosing to create a more personal-sounding album with the greatest emphasis being placed on his voice. For Cut Worms, he employed some music-orientated friends, such as The Lemon Twigs and Florist’s Rick Spataro, to bring the record together. However, Clarke tackled most of the production and mixing himself, aiding the album’s intimate sound.
While the album has many beautiful moments, from gorgeous guitar riffs and perfect vintage-inspired vocal performances, Cut Worms, though cohesive, often lacks enough musical variety to maintain extended interest. Often, the record just teeters into tedious territory, allowing itself to morph into background music, albeit pleasantly at that.
Cut Worms is easy listening, and while it would make for the perfect soundtrack for a relaxed summer gathering, some of the tracks lack enough momentum to stand on their own for the long run.
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