Originally coming from New York City and now based in Los Angeles, Max Vanderwolf has delivered an incredible musical output over the years as Vanderwolf. Renowned for his varied talents, Vanderwolf’s journey through music has been marked by a diverse range of experiences and influences. Having made his name as the vocalist and creative force behind the revered London band, Last Man Standing, Vanderwolf has consistently explored multiple facets of musical expression.
His expansive catalogue, ranging from global beats to hard blues to graceful ballads, showcases his relentless mission of artistic exploration. First sharing his solo sonic vision in 2022, he released the double single “When the Fire Grows Cold / Extinction!” before dropping his debut full-length record 12 Little Killers later that year.
This year saw him return with two new singles, “Sweep Away the Shards” and “A’coming Home” in the build up to his highly anticipated sophomore record titled The Great Bewilderment. Released via the Another Record Label imprint, Vanderwolf’s new album presents an eight-track journey of epic rock-focused music, written during the pandemic when he relocated from New York to Los Angeles. Joined by bandmates Angie Scarpa on drums, bass player H Chris Roy and a range of guitar work from Tim Sonnefeld, the album is a stellar snapshot of Vanderwolf’s latest musical chapter.
Opened by recent single “A’coming Home,” rolling drums kick off the record with a sense of anticipation before the bright burst of organ tones and guitar rhythms usher in Vanderwolf’s compelling vocal leads. Hovering above the energising arrangement, his voice spins storytelling lyricism as the song casts an epic slice of enduring rock music. With a stark shift to a piano-driven moment capped by expressive vocal work, the song erupts into a spectacular display of soaring vocals and rousing instrumentation cut with slick lead guitar touches to craft a theatrical musical experience.
“The 6.09” follows with the intricate chimes of triangle as delicate acoustic guitar flutters creates a classic rock sound that rises with the crunch of electric guitar chords and lively drum strikes as Vanderwolf’s sensational vocals ride above lifted by layers of backing voices. Flowing through an emphatic rock scene with smooth ebb and flow between the energies of the verse and chorus, it’s a superb outing that perfectly distils the artist’s influences from yesteryear into an incredible sound.
Lead single “Sweep Away the Shards” presents the tender side of the artist’s songwriting with a downtempo and dreamy rock soundscape wrapped in a hazy aesthetic. Written about the poignant experience of witnessing a close friend become increasingly disconnected from the world, the song features a laid back, lilting rhythm, an elegant arrangement of guitars and impassioned vocal performance to deliver this moving song in a dazzling fashion.
On “Gaza,” he creates a sombre sound of sorrowful guitar progressions that slowly drift through the soft intro as his commanding voice floats above the mellow taps of drums to then launch an explosion of gritty guitars and pounding drums. The expansive nine and a half minute epic was originally written several years ago, but it’s context has become even more relevant in light of recent events. The thrilling sonic journey also features an anthemic guitar solo from guest musician Adrian Utley of Portishead.
From start to finish, The Great Bewilderment serves up stunning and engaging listening experience packed full of timeless songwriting, vocal panache and exquisite musicianship.
We caught up with Vanderwolf to find out more about his musical journey so far, his new album The Great Bewilderment and what he’s got lined up for the future. Check out our interview with Vanderwolf below.
What’s your earliest memory of making music?
Sloshing around the womb to the 6/8 groove of my mama’s heartbeat. Really the best rave one could hope for. Talk about ambient music! Soon after that when I popped out, like most mighty infants, I was more into a free jazz thing. Y’know, like that wailing babies do? I was screaming. Set that to Elvin Jones and Jimmy Garrison and you are flying. That is the freest of free jazz. Babies are just seeking some accompaniment. if only more parents would pick up the bass and drums… I was like the Albert Ayler of babies.
Which artists do you draw most inspiration from?
Here’s an incomplete but remarkably spontaneous alphabetical list: Air, Beachhouse, Captain Beefheart, Dylan, Esquivel, Funkadelic, Grateful Dead, Henry Cow, Incredible String Band, Joy Division, King Crimson, Love, The Monkees, Randy Newman, The O’Jays, Pink Floyd, Queen, Roxy Music, Sparks, Tortoise, James ‘Blood’ Ulmer, Velvet Underground, Robert Wyatt, X, Zappa.
What was your highlight of the year for 2023?
I don’t even know if I can remember that far back. Let’s see. Well getting this record out and all it required was a massive effort – mixing, mastering, the artwork and the videos. Whether it’s a ”highlight”- I’m not sure… It’s a colossal effort. Somewhere in there I had a really good sandwich. Thats more of a highlight. I had a lovely return visit to London and reconnected with old friends. That was good too. Saw the hilarious Viagra Boys perform in a park in South London.
What would you say is the perfect setting for listeners to enjoy your sound?
Quite honestly — there’s only one place any musician’s record has a chance of being heard properly. The last remaining refuge for proper listening: the automobile. Too many people are listening on their phones or laptops. And worse it’s YouTube or Spotify quality audio. It’s a disaster for those of us who put so much work into the sonics. But the car is an acceptable place to be alone and to listen. It is a sonic temple on wheels. This album acknowledges that and there are elements of a journey that will correspond to one’s journey on the road. But when I am king of the world, everyone will get a government-issued Technics 12000GR turntable, a Marantz 2285 vintage receiver and some KLH Model Nine speakers – and a vinyl copy of ‘The Great Bewilderment’.
Who would be your dream artist to collaborate with?
Well, on various levels I’ve previously collaborated with Ornette Coleman, Jeff Beck, Keith Emerson, Robert Wyatt, David Bowie, Massive Attack, Brian Wilson and others – and all that’s wonderful…. So, as long as this is a dream, I think I’ll reach all the back to Hugo Ball and the Dadaists. Or Artaud’s Theatre of Cruelty… Of course there was Paris 1919 — what a party that would’ve been — maybe Gertrude Stein, Stravinsky and Brancusi — devising our own rock opera/laundry cooperative…
How has your own style and sound evolved since you started out?
All my writing is a reflection of my learning process. And as I learn – either about theory, or guitar technique or perhaps something I’m reading about – it’s all being processed internally and manifests in my creative output. Sometime consciously and often less so. All these personal developments are part of an ongoing evolution. On one level, a track like ”Sweep Away The Shards” is a story of the loss of friend and her tenuous grasp on reality… But on another level it’s me experimenting with stacking up major 7th chords in a way that compels me to pursue a musical idea. It’s absolutely connected to a primal compulsion, but it’s also driven by self-education. But then you’ve got to look at your invention and figure out what story is being told by the emotional nuance and momentum of the piece.
How did you find making your new album ‘The Great Bewilderment’?
I moved to LA during the pandemic – after NYC became an increasingly unattractive scenario. So in some ways I was seeking refuge. These were tender times for everyone. Just gathering with friends required caution. Gathering friends to make music was practically a political act. It both engaged in and defied some pandemic protocol. Our earliest rehearsals had to be outside. I was living in this weird empty house at the very top of Laurel Canyon in a development called Mount Olympus. It has its own microclimate. The owner of the house was one of the Shahs of the Sunset Strip TV show and he’d stash all his equipment and outdoor furniture at this location. Nothing worked. It was a mess. But it was on top of a mountain with incredibly expansive views of LA out to the ocean. There was a feeling of space. A feeling of vast possibilities. And there was time. We didn’t rush this music. We allowed the arrangement to breathe. We tried out many ideas, made modifications, tried again, wrote new bits, jammed… And this approach carried into the studio sessions which were in Silver Lake about a year later. Most of what you hear was recorded live.
How did you go about capturing the big cinematic rock sound on the record?
Well there’s the technical side to that question which might be too technical but the bit that’s more relevant to a general audience is quite simple. You’ve got to get great musicians who play expressively. You’ve got to record as much as you can live – as in musicians in the same room performing together. Few records are made this way these days. While I lean on analogue instrumentation – digital tools are useful – but allow the analogue warmth of those performances to breathe throughout the record. There’s some vintage gear involved – Hammond B3 organ, Ludwig drum kits, an API 1974 mixing console… But mostly it’s just a vision that guides all that – those songs already were recorded in my head. I was chasing something and these brilliant musicians helped me achieve it.
What message did you want to get across with this release?
Well the track ‘Gaza’ on the new album was written long before the Middle East conflict erupted into this disgusting war. It depicts an inability to connect with political struggles and failures of public policy that lead to the kind of wars we see now. Back when I wrote it, most people couldn’t find Gaza on a map. The many years of neglect and our inability to recognise the plight of Gaza was so clearly going to be complicit in the explosion of this current conflict. And this is true for countless other places in the world also suffering from this same kind of neglect. The song could have easily been titled Haiti or the Democratic Republic of Congo. So maybe there is an opportunity for people to address their own sense of bewilderment about the world. Other than that, there’s a lot of love and loss on this record. Who can’t relate to that?
Do you have a personal favourite song on the LP?
I love all my ”children”. When it comes to songwriting – well, I’m pretty intriguing… I can’t really take credit for the songs – but whatever spirit or force moves me, or channels through me… The end result is fascinating, engaging and profoundly musical. So each piece is almost like listening to a song by a favourite new artist. I listen from the same distance – and same fascination – as I would encountering a new artist I’d never heard before. So choosing a favourite is really difficult. I suppose ‘Gaza’ possesses some mystery worth singling out as it might be considered the centrepiece of the album
How was it working with Adrian Utley of Portishead?
Amazing. I had introduced Adrian to Patti Smith in 2006 when I suggested to her she include him in a special concert we were producing with her band at the Royal Festival Hall in London. He was thrilled – the concert was amazing and we stayed in touch after that. I wasn’t sure he’d agree to this. The song ‘Gaza’ is musically very different from anything we’ve heard from him before, but his solo is so devastatingly brilliant.
What artist have you been listening to most recently?
Well, its early in the year but I am already sure ‘Asterisms’ by Sean Ono Lennon is on my best of 2024 list. As far as last year’s gems: I’m really taken with this album by NYC band Geese, which is produced by James Ford. It’s a strange mix of glam, punk, theatre laced with Cowboy-Acid. Definitely one of the best releases of the year. But other great albums from ’23 I’m listening to are by Kassa Overall, Jonathan Wilson, Meshell Ndegeocello, Gaz Coombes, John Zorn, Sufjan Stevens, Dave Okumu, High Pulp, The Polyphonic Spree, James Holden, The Gabriels. And, as usual, I’m listening to unhealthy doses of Morricone soundtracks.
What’s the main thing you want people to get out of listening to your music?
I want people to come away from the listening experience with a sense of enlightenment… With a sense of bliss and a greater awareness and appreciation for the world around them. I want them to call their mom or dad and tell them, ”I love you”. I want them to commit to a higher level of political engagement and start a movement about the issues that affect them. I want them to sing and dance and tell others of this mysterious record and how it’s improved their lives. I want them to buy additional vinyl copies for their nieces and nephews. Is that too much to ask? Probably…. So I guess I just hope they just turn off the TV, put down their phone and listen to all 45 minutes of it with open ears and an open mind. That’s really all you can hope for these days.
Who would be 3 artists to headline your dream festival? And where would it be?
Beethoven all the symphonies… The Mothers of Invention – in all it permutations (1967-1975), Cab Calloway with his Cotton Club Band.
Do you have any advice for a new artist wanting to follow your footsteps?
Children… Do not do what I have done.
Finally, what do you have lined up for the rest of 2024?
I’m gonna start with lunch and see how it goes from there. But there’s a new Lionsgate film called ‘5lbs Of Pressure’ coming out which has four of my songs in it. And I’ve got new music on the boil. Basic tracks are done so hopefully a new record soon.
Listen to The Great Bewilderment below
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