Indra Aziz
The Brighton-based rock outfit Tigercub has unveiled their latest album, "Nets To Catch The Wind," a release that signifies a deepening of their already established lyrical prowess and a bold exploration of emotionally resonant soundscapes. This new offering, available now, sees the band, fronted by the introspective Jamie Hall, further cement their reputation for crafting music that is both intellectually stimulating and viscerally impactful. The album’s title itself is a direct nod to the evocative works of poet Elinor Wylie, hinting at the literary underpinnings that have consistently informed Tigercub’s artistic output.
Recorded over a concentrated nine-day period within the hallowed halls of Rockfield Studios, a facility renowned for nurturing seminal albums by artists such as Queen, Oasis, and Coldplay, "Nets To Catch The Wind" represents a deliberate and meticulous approach to album creation. The studio’s historical significance, coupled with the band’s commitment to artistic evolution, has culminated in what is being hailed as some of their most intricate and emotionally charged material to date. The production duties were entrusted to Tom Dalgety, a seasoned professional known for his work with critically acclaimed acts like Royal Blood, Ghost, and Pixies, whose signature touch is expected to amplify the album’s dynamic range and sonic depth.
Further underscoring the collaborative and expansive nature of this project, the album features a co-written track with Dom Craik, a key member of the popular rock band Nothing But Thieves. Additionally, the distinctive vocal stylings of Neil Fallon, the frontman of the legendary rock band Clutch, contribute a spoken-word element, adding a layer of gravitas and narrative texture to one of the album’s tracks. This confluence of talent suggests an ambitious artistic vision, aiming to transcend genre boundaries and deliver a multifaceted listening experience.
"Nets To Catch The Wind" is being met with considerable critical attention, lauded for its forceful delivery and literate songwriting. This reception has inevitably prompted a deeper look into the influences that shape Tigercub’s distinctive sound, particularly the literary inclinations of frontman Jamie Hall. In a recent discussion, Hall elaborated on his profound connection to literature and its tangible impact on his creative process.
Literary Foundations: A Deep Dive into Jamie Hall’s Influences
Hall’s favorite book, a revelation that speaks volumes about his aesthetic sensibilities, is William S. Burroughs’ "Naked Lunch." He draws a compelling parallel between the novel’s impact and the visceral reactions evoked by the avant-garde musical compositions of Krzysztof Penderecki. "It makes me feel something really visceral every time I pick it up," Hall explains, describing the work as "visceral and chaotic and hallucinatory and kind of formless." He elaborates that the experience of reading "Naked Lunch" is less about following a conventional narrative and more akin to "stepping into some strange state of mind. Like smelling bath salts." This description highlights a preference for art that disrupts conventional perception and elicits a profound, almost sensory, response.
The pantheon of authors that resonate with Hall is extensive and eclectic, reflecting a broad appreciation for literary voices that challenge norms and explore the human psyche. Beyond Burroughs, his influences include the existentialist philosopher Jean-Paul Sartre, the masterful prose stylist Vladimir Nabokov, the provocative author Anthony Burgess, and the raw, unflinching chronicler of urban decay, Hubert Selby Jr. This curated list points to a fascination with writers who engage with complex philosophical ideas, push the boundaries of language, and delve into the darker, more unconventional aspects of human experience.
A foundational figure in Hall’s literary landscape is Edgar Allan Poe. The enduring power of Poe’s poetry, particularly works like "A Dream Within a Dream," "Annabel Lee," and "The City in the Sea," has left an indelible mark. Hall finds Poe’s personifications of the sea and the moon to be "deeply inspiring," suggesting an appreciation for evocative imagery and a melancholic, often gothic, sensibility. The inclusion of Elinor Wylie, whose collection lends its title to the new album, further emphasizes Hall’s inclination towards poets who employ precise language to convey profound emotional states.
The Nexus of Literature and Music: Tracing Artistic Lineage
Hall’s engagement with literature is not merely an academic pursuit; it serves as a vital conduit for understanding and connecting with his musical heroes. He reveals that his initial foray into the works of William S. Burroughs was prompted by learning about Kurt Cobain’s correspondence with the author and David Bowie’s adoption of Burroughs’ "cut-up" technique. This revelation underscores a common thread in artistic innovation, where the cross-pollination of ideas between disciplines can spark significant creative breakthroughs. The discovery of "Naked Lunch" and "The Soft Machine" left Hall "completely mind blown by how freeform and visceral the writing is." Similarly, listening to the audiobook of Burroughs’ "Junkie" had a "profound effect" on him, indicating a deep absorption of the author’s unique narrative style and thematic concerns.
This method of literary discovery extends to other artists as well. Hall cites Alan Sillitoe’s "Saturday Night and Sunday Morning" as a "real lost classic" he unearthed. His interest was piqued by learning it was a favorite of Alex Turner of the Arctic Monkeys, a band whose lyrical dexterity Hall clearly admires. The novel’s "raw working-class energy" is what captured his attention, suggesting a preference for literature that reflects authentic societal experiences and possesses an unvarnished vitality.
The impact of these literary influences on Tigercub’s songwriting is, according to Hall, "definite." He acknowledges that he sometimes references his literary inspirations directly within his lyrics. Burroughs, in particular, has shaped Hall’s "way of thinking about lyrics," hinting at an adoption of Burroughs’ experimental approach to language and narrative fragmentation.
Reading Habits and the Creative Process
While the demanding schedule of promoting a new album often leaves little room for leisure, Hall’s reading habits are closely intertwined with his creative output. During the writing period for "Nets To Catch The Wind," he found himself engrossed in Nick Cave’s "From Her to Eternity," not as a musical work, but as poetry. This unconventional approach to experiencing Cave’s writing highlights Hall’s analytical mind and his ability to extract different forms of inspiration from artistic creations. He even admits to enjoying Nick Cave "more in that context sometimes," a testament to the power of the written word to convey meaning independently of its original medium.
Hall’s earliest literary memories are steeped in the dark enchantment of Grimm’s Fairy Tales. While he acknowledges their inherent violence and darkness, he notes that as a child, "that side of it was over my head but it’s well good." This early exposure to potent, often unsettling, narratives may have laid the groundwork for his later appreciation of more mature and complex literary works.
Not all literary encounters are positive, however. Hall admits to being unable to finish Patrick Süskind’s "Perfume." While he found the first part of the novel captivating, the trajectory of the story proved too challenging. "I had no idea what the plot was going on. Part one was so good I could not believe it. But once I realised where the story was going I had to abandon it. I just couldn’t put myself through it," he confesses, revealing a clear boundary regarding thematic content that he is unwilling to traverse.
When it comes to rereading, "Naked Lunch" is an exception. However, Hall’s approach is not linear. He prefers to "open it randomly and read an excerpt," finding that the book’s "formless" nature lends itself to this more serendipitous method of engagement. This suggests a dynamic relationship with his favorite texts, where each encounter can yield new insights.
Hall’s connection to literature often transcends specific characters, leaning instead towards the overall "feeling or mindset of a book." He finds himself drawn to writers who craft "strange fractured perspectives that feel closer to how memory or creativity actually works," indicating an interest in explorations of consciousness and the subjective experience of reality.
Looking ahead, Hall expresses a desire to collaborate with an author who operates within the "lineage of Burroughs," someone who approaches language as a malleable substance, akin to "sound or texture rather than just narrative." This aspiration underscores his commitment to pushing the boundaries of lyrical expression and exploring new avenues for artistic synthesis.
"Nets To Catch The Wind": A Sonic and Lyrical Synthesis
The release of "Nets To Catch The Wind" marks a significant moment for Tigercub, a culmination of their evolving artistic vision and a testament to the enduring power of literary influence on contemporary music. The album’s reception thus far suggests that the band has successfully translated their deep engagement with literature into a collection of songs that are both sonically compelling and intellectually rich. The meticulous production at Rockfield Studios, coupled with the strategic collaborations, has resulted in an album that is poised to be a landmark release in Tigercub’s discography. The title itself, drawn from Elinor Wylie, serves as a potent metaphor for the band’s ambition: to capture the ephemeral, the intangible, and the profound in their music, much like a poet endeavors to do with words.
The album’s tracklist, while not detailed in the provided text, is expected to reflect the thematic depth and stylistic breadth discussed by Hall. The inclusion of a music video for "Silver Smile" and "A Black Moon" offers visual interpretations of their sonic narratives, further enhancing the immersive quality of the release. These visual components, alongside the lyrical depth and musical execution, contribute to a holistic artistic statement that invites listeners to engage with Tigercub’s work on multiple levels.
The broader implications of "Nets To Catch The Wind" extend beyond Tigercub’s immediate fanbase. In an era where musical consumption can often be fleeting and superficial, the band’s dedication to crafting substantive, literature-informed music serves as a powerful counterpoint. It highlights the enduring relevance of thoughtful lyricism and the potential for artistic cross-pollination to yield groundbreaking results. The success of this album could inspire other artists to delve deeper into their literary influences, fostering a more intellectually engaged and artistically diverse music landscape. As "Nets To Catch The Wind" continues to find its audience, it stands as a compelling example of how the written word can profoundly shape and elevate the art of music.
