“I aloof like that word, calamity. It’s array of a anarchic mess. But it’s not evil—it’s added mischievous,” Thomas Tull tells American Songwriter over the buzz in a contempo account about the new Ghost Hounds album.
Released September 3 via Maple House Records, their green LP, A Little Calamity added defines the appropriate tones of beat Blues-rock outfit. Rooted in Pittsburgh, Pennsylvania, the sextet is comprised of Tull [guitar], Tre’ Nation [vocals], Johnny Baab [guitar], Bennett Miller [bass], Blaise Lanzetta [drums], and Joe Munroe [keys].
Tull, who co-wrote and co-produced the anthology with songwriter-producer Kevin Bowe, feels the chat “calamity” captures the spirit of the antic rockers. In the era of the abandoned artist, Ghost Hounds channels the alone aptitude with enviable cohesion, carrying a concentrated complete acquired alone from the interworkings of a accurate band.
The appellation clue “Little Calamity,” Tull says, is “about the absolute anthology and bandage aloof actuality a bit of a calamity.” He adds, “We’re not troublemakers, necessarily. But there is consistently array of a big billow of calamity about it. And accustomed the assortment of the tracks, it acquainted like an all-embracing affair for the ruckus.”
This added footfall for Ghost Hounds—following their 2019 debut, Roses Are Black—solidifies the bedrock n’ cycle complete we crave, but so rarely apprehend in the apple of avant-garde music. It’s electric guitar-led, ashen boom kit-driven bedrock music, with an advised cast of the Blues. Tull traces this birth through the attitude of the Blues, anxiously belief the works of aficionados like Robert Johnson.
Born in alone Missippi, Johnson’s music career yielded the all-inclusive overextension of the Delta Dejection influence. His battleground recordings date aback to 1936 and 1937—the aftermost two years of his life—having endured able-bodied above his abbreviate life. The attitude of Johnson’s not well-documented activity and abounding assignment gave acceleration to the best acclaimed fable about the forefather. Considering his talent, the alone analytic account became that he awash his body to the devil to accomplish such agreeable success.
“When you accept to his albums, there is this apparitional essence—at atomic to me,” says Tull. “He’s consistently referencing the Hell Hounds on his trail, which is area our bandage name comes from.”
An anthology highlight, “Between Me and The Devil” is a nod to Johnson’s appulse on the band’s dejection influence. The music video capacity the fable of the founding father, featuring Nation as a appearance who makes his way bottomward to the capital area he is tempted by the devil. Tull says, “The altercation he’s authoritative is so acute it seems reasonable. And the character, Tre’ is singing to the added being here, adage ‘The alone acumen I haven’t stepped off the bend yet is because of you.’”
“Good Ole Days” is one of those that came aboriginal in lyrics in the title. Bred from a accidental chat amid bandmates and friends, the abstraction considers the celebrity generally disregarded in acutely accustomed moments.
“Often what happens aback you reminisce, you allocution about things that at the time apparently acquainted ordinary‚ aloof article you did that day,” Tull explains. “But in retrospect, you anticipate ‘What an amazing time,’ alike admitting it ability not accept occurred to you then. So this song is about how these are the acceptable ole days. It doesn’t accept to be aloof the big events—weddings or acceptable the brawl game. You’re up and affective around; you accept accompany and are able to acquaint bodies you affliction about them. And in the future, you’ll apparently be attractive aback at this period, reminiscing.”
This is not an accessible abstraction to grasp, abnormally for a bandage like Ghost Hounds who has climbed so bound into the civic spotlight. To accumulate themselves grounded, Tull says the bandage is advised about “staying present.”
“When we airing into rehearsal, or aback I’m in the average of writing, I try to absolutely bethink and booty in the feeling—the sights, the sounds, aggregate that’s happening— and absolutely almanac it and be there instead of hasty through it,” says Tull. “Now, I’m not consistently abundant at that. Activity is confusing and we accept all kinds of things that consistently appeal our attention. But that is one of the things I try to anticipate about.”
Within the accepted ambience of a all-around pandemic, Tull derives added acceptation from the song. He says, “In a Covid world, article I try to do and animate others to do is if addition is important to you, go advanced and acquaint them. Acquaint them how you feel and acknowledge them, accomplish abiding you back those things. We never apperceive what’s activity to appear from one day to the next.”
As a songwriter, Tull considers “Half My Fault” a claimed favorite. Unlike “Good Ole Days,” this one began as a riff he would comedy in an accessible G about every day for three months of rehearsals. Tull writes all of the music for the band, and again he and Bowe address the lyrics together. Activity into this song, he had two abstracted titles for altered songs in mind. One was “Half My Fault,” and the added was “She’s All Gone.” Bowe appropriate they put them together. Tull says, “I don’t appetite to say it wrote itself, but it aloof flowed absolutely well.”
The accountable comes to activity in a agitating bandage from the track: I’m on my knees, don’t wanna adjure / Afraid to apprehend what he ability say. Tull describes the call of assuming in his songs, saying, “For me, I accept to apperceive area that appearance is in their life, what what’s accident to them? Why the breakup?”
He feels the overarching abstraction actuality is the alternate albatross in a relationship. “It’s both of your albatross to booty affliction of it, affliction and augment and breeding it. And that if it doesn’t work, you can sit and agitation the characteristics and behavior of your partner, but at the end of the day, it didn’t assignment out together,” he explains. “So I’m not attractive for the appearance to say, ‘It’s all my fault. Look at what I did, I busted up.’ But also, it’s not ‘I was a acceptable guy, and she larboard me.’ It’s ‘We had a accord and we’re both at fault.’”
A Little Calamity was shaped from the band’s acquaintance aperture for iconic acts including The Rolling Stones, ZZ Top, and Bob Seger during 2019. Touring so extensively, Tull feels the bandage became both physically and alone added “tight” on the road. The activity from their date adventures flowed anon into this project.
“When you go see the Stones or Seger, and you’ve got to see addition band, the aperture act, first, it’s like ‘Alright, how connected do we accept to accept to these guys?” Tull laughs. “I get it, I’ve been there. But these audiences were so humbling. The acknowledgment we got was overwhelming. We are a alive band, and to comedy alive is the reward, so to speak.”
On the heels of their alley success, the alive acquaintance afflicted this activity in two ways. Wanting to abduction what Tull describes as “the edge” of the bandage live, was critical. And as a songwriter, Tull crafted his autograph accurately with Nation’s defining articulation in mind. With the afar beneath their belt, Tull feels he was able to be added specific with his autograph this go-round. “There’s annihilation amiss with the pop on the radio,” Tull concludes. “But I feel actual acerb that this accomplished Blues, bedrock n’ cycle blazon of music has to be fostered and connected on.”
Listen to Ghost Hounds’ new LP A Little Calamity, here.
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