Larman Clamour

FROGS

http://www.thesleepingshaman.com/news/larman-clamor-frogs-cd-lp-dd-2012/

Better late than never as the saying goes. This album actually came out in 2012 and somehow passed us by at the Shaman’s lair but here it is now and thoroughly deserving of some bandwidth!!!
Larman Clamor is the brain child of German artist extraordinaire Alex Von Wieding, the man behind artwork for many bands such as Monster Magnet, Karma To Burn, Enos, Sun Gods In Exile, Gozu and a million other Small Stone bands. So is there a charge of nepotism here with this release being on Small Stone? Hell no, this album stands tall on its own two feet.
Far from being the heavy, stoner rocking groove fest you might be expecting, this is a self contained, one man unit that explores the depths of swampy Mississippi Delta blues. Von Wieding plays all the instruments himself, from guitars to percussion to occasional banjo and harmonica as well as topping it all off with a guttural, rough hewn voice that speaks of a man beyond his physical years.
A lazy comparison would be Seasick Steve but Larman Clamor is a far darker, more sinister beast as Von Wieding creates hypnotic blues drones backed up by sparse percussion and gritty, other worldly guitar. Occasionally on tracks such as “The Mudhole Stomp” he evokes the vibe of someone like Five Horse Johnson with its funky groove and tighter structure but for the most part this is the sound of a man following his own inner muse…and if you’ve ever seen examples of his artwork you will understand that his vision is unique, bordering on the extraterrestrial. Probably a more suitable point of comparison would be to look back to some of the veteran bluesmen of yore, people such as John Lee Hooker with his insistent boogie or Lightning Hopkins. There’s also a touch of Dr John’s voodoo blues vibe and dare I say a little of Tom Waits’ in Von Wieding’s throaty growl.
Larman Clamor certainly know how to create an atmosphere and know the value of space in music. Each track is layered with the minimum instrumentation required to achieve maximum impact…if full drums are required then so be it but if it’s just a shaker or some wood block to keep some rhythm then that’s what you get and it does make for a diverse and interesting album in a genre that can be prone to repetition.
This may be a bit of a curve ball to most followers of Small Stone’s output but one that they should be prepared to catch and wholeheartedly embrace. It has just enough rock and roll grime under its fingernails to keep the hardcore faithful happy and the line drawn between them and someone such as Five Horse Johnson isn’t as far as you may think. Rock and roll, heavy metal, stoner rock, doom metal…they all built their foundations on the blues so take a look at something that springs far closer to the source.



http://www.destination-rock.com/albums/album-larmanclamorfrogs.html

God Is Blue. Il y a, sur « Journey of The Serpents », le dernier titre de Frogs, une séquence admirable. Commencé de manière chaloupée, le morceau prend vite de l’épaisseur pour ensuite stagner sur un mouvement perpétuel et progressivement s’effeuiller de ses atours ferreux. Tout en énergie retenue, il ne décolle cependant pas vraiment comme si l’homme derrière ce one-man-band, Alexander Von Wieding, avait quitté le vaisseau, laissant le cortège évoluer en roue libre. Et en à peine moins de quatre minutes et un seul thème étiré dans toute sa longueur, c’est comme si le morceau, l’album et l’artiste lâchaient tout ce qu’ils retenaient jusqu’ici. Dernier souffle avant une suite que l’on imaginerait volontiers plus âpre. Une impression d’inachevé se fondant sur une fausse décontraction derrière laquelle on sent gronder une ardeur nocive qui se nourrit d’elle-même. Mais des espoirs non comblés, laissés rageusement à l’abandon entre hallucination et perception. 
Depuis leur première démo, la musique de Larman Clamor semblait pourtant enfermée dans sa propre formule, mélange enrichi à l’americana et au psyché, de blues du delta, de stoner fiévreux et de garage poussiéreux. Le tout construit sans gros apparats, limite lo-fi par moments. En quelque sorte, une version plus lourde du projet qu’avaient mené feu R.L Burnside avec le John Blues Explosion à la fin des nineties. Frogs, d’une certaine manière, n’échappe pas à cette règle : mêmes atmosphères délétères des marais ; mêmes inclinations pour le boogie “hookerien” ; même intrication de l’acoustique et de l’électrique. Mais si la méthode est appliquée avec un mimétisme certain, elle n’est pas pour autant un numéro de pantomime. Ne perdant aucunement pied dans sa bassine d’influences, Larman Clamor fignole les arrangements en installant durablement les claviers dans son propos. Le blues anémié de « Mill Wheel Alchemy » et de « Potion & Secrets » baigne lascivement dans cette nouvelle ambiance feutrée. Pour le reste, les guitares et les orgues bavassent leur opiacés dans la fange sur des créations incarnées par la voix rocailleuse d’Alexander. A l’abri du temps, elles se perdent entre John P. Hammond, pour le boogie et Down, pour la touche southern et heavy. 
Le rideau tombé sur « Journey of The Serpents », reste tapi quelque part dans le coin de notre oreille, l’écho des cordes aux effluves moites du bayou. Cette fin de disque signe là l’expérience de ce qu’on pourrait nommer morceau fantôme comme l’on parle de membre fantôme, celui dont l’absence se fait fortement ressentir et dont la présence révélerait au grand jour tout le bien que l’on pense de l’album. Qu’importe, pour le moment. A l’image de ce titre final, Frogs est un plaisir immédiat. Rapidement absorbé et agréable sur la longue durée. C’est une capsule hors du temps, une régression volontaire, un agréable témoignage de relecture blues. 7.5 of10



http://spaderess.blogspot.se/2013/01/dagens-musiktips-larman-clamor.html

Dagens Musiktips – Larman Clamor
Sugen på lite skramlig träskblues? Kolla då in denna platta från Tyska Larman Clamor, “Frogs”, utgiven på Small Stone Records i slutet på förra året.
Bandet började som en duo, men har på senare tid enbart bestått av Alexander von Wieding, som den uppmärksamme genast noterar har fugurerat här hos SpaderEss tidigare, fast då i skepnaden av otroligt begåvad konstnär som gjort en uppsjö snygga skivomslag. Kolla in hans site och bli imponerad.
Men nu är det hans musik som är i fokus. Larman Clamor, eller kanske det skall läsas som Larm And Clamor? För det är lite vad det handlar om. Det är skramligt, oputsat och vansinnigt svängig elektrisk blues som inte får en att tänka på Tyskland i första taget. Men bra är det! Det stampar och svänger på rejält.



http://ikon1931.se/recensioner/skev-americana-med-stonerkansla

Skev americana med stonerkänsla
Under namnet Larman Clamor pysslar Hamburgboende Alexander Von Wieding med den mörkaste, skevaste americana/deltablues/singer-songwriter-avkroken man kan tänka sig. Antagligen är han bekant för en del för sina skivomslagsmeriter med band som bland annat Trouble, Nuclear Assault och mängder med band från Smallstone records.
Det är svårt att annat än älska en skiva som namngivits till grodor och där titellåten innehåller oförglömliga rader som: Frogs. They keep o’hauntin’ me. They keep o’comin’n in. Into my house. And my air is gettin’ thin. Förövrigt är det en väldigt skön låt.
Här finns såklart även andra goa stunder. The Mudhole Stomp är en. Black Cylinder är en annan. Blir dock aldrig så där gnistrande bra utan traskar på i en segare mylla av doomig stonerkänsla och diverse utfyllningar. Anar starkt att Wieding egentligen skulle kunna göra en skiva som jag uppskattar mycket mycket mer. Är inte så säker på att han vill det, tyvärr.
(Roger Bengtsson)



http://dragthewater.wordpress.com/2012/11/18/larman-clamor-frogs/

Un nom con certes mais quel classe ce teuton.
Larman Clamor de son vrai nom Alexander on Wieding est surtout connu pour ces artworks que l’on retrouve beaucoup dans les productions Small Stone et même chez de grosses pointures (Monster Magnet, Karma to Burn, …).
Mais il fait aussi de la musique. Bien même.
Son album Frogs est assez étrange à dire vrai. Un bon gros blues/stoner qu’on attend pas forcément de quelqu’un venant de teutonie mais il réussit à maîtriser à merveille l’ambiance « Mud » des albums produits au fin fond du bayou.
Le vinyl, de couleur vert marais, est fourni avec un livret de 20 pages franchement joli.
(Par Yossarian)



http://sonicdivide.blogspot.de/2012/11/larman-clamor.html

Larman Clamor
One more from the B to the O to the Z.
A lil’ something to tide you over till Kris’ internet troubles are over.
Got this record on a whim and just gave it a spin. Fun!
He’s the German illustrator for Wo-Fat’s album covers and does this swamp-stomp project as well.
German Tom Waits waiting for you in Louisiana at night in a rusty boat?
L to the U to the V,
-APB



http://www.allmusic.com/album/frogs-mw0002417641

Larman Clamor is the musical alias of respected German illustrator Alexander Von Wieding, better known for his dazzling album cover designs for everyone from Monster Magnet to Nuclear Assault than for composing albums of his own, such as 2012′s Frogs. But imagine if Tom Waits hailed from the bayou (and imagine Germany has bayous, while you’re at it) and you’ll grasp the essence of Larman Clamor’s backwoods troubadour working an intentionally lo-fi aesthetic, as songs like “Seven Slugs O’ Water” and “Undead Waters” emerge from a leaky shotgun shack, as though recorded with a third-hand guitar plugged straight into a banged-up Fender Champ. Further comparisons that come to mind include Jack White minus the massive record sales and resultant supermodel wife (“Black Cylinder”), or a hung-over Jon Spencer (“The Mudhole Stomp,” “Gordon’s Gold”) casually fumbling his slide across the strings. And then there’s the title track’s ramshackle boogie, which sounds like Billy Gibbons (the lecherous Gibbons of “La Grange”) grappling with sputtering electricity, the spartan instrumental “Mill Wheel Alchemy,” buoyed by bongos and bongs, and, well, you get the picture. Suffice to say that Frogs successfully paints a vivid character portrait through its rickety faux field recordings, and whether this will resonate with anyone beyond fellow weirdlings and like-minded outsiders is another matter. Chances are Larman Clamor isn’t sweating it either way.
3,5 of 5



http://www.lordsofmetal.nl/en/reviews/view/id/23248

Menno : Larman Clamor is the brainchild of Alexander von Wieding. Big chance you have one of his works in your record-collection. Not so much because of the music, but because of his impressive artwork and sleeve-designs. Tankard, Monster Magnet, Razor, Nightstalker, Karma to Burn, Tank86 and Wo Fat make up only a small part of his clientele. As a musician, Alex is a loner. Since 2008 he has been steadily releasing his primitive, minimalistic garageblues under his pseudonym Larman Clamor. ‘Frogs’ is its third full length, this time on Small Stone Records. Von Wieding successfully sketches scenes of swampy southernness, but we have to conclude we’ve seen this done more spectacularly in the past (Bob Log III, Bjorn Berge, Seasick Steve, to name a few). This man sounds authentic enough to answer for it, though.



http://www.fileunder.nl/archives/2012/10/larman_clamor_frogs.php

Lange tijd was niet duidelijk wie er achter Larman Clamor zaten. Ja, drummer/toetsenist R en zanger/gitarist V. Inmiddels is R afgehaakt en blijkt V, het enig overgebleven bandlid, Alexander von Wieding te heten en de maker van artwork voor diverse bij Small Stone uitgebrachte cd’s te zijn. Het boekje van Frogs opent met de beschrijving ‘Swampbound/ Tales Of/ Majik/ Cannibals/ Love/ Haints/ And A Whole/ Lotta Bong Water’. Het komt er op neer dat Frogs eerder uit de moerassen van Florida lijkt te komen dan uit het land van het Wirtschaftswunder. Gestaag dreunende bluesklanken die doen denken aan het zompiger werk van Tom Waits, ZZ Top, Ben Harper en Les Claypool, met zang die vaak goed beschouwd meer brullen of mompelen is, maar die het geheel alleen nog maar sfeervoller maakt. Geen moment heb je het idee dat er iemand stukje bij beetje een nummer heeft opgebouwd, het klinkt alsof het ineens, door een complete band, op plaat is gezet. Het geluid is vaak overstuurd, er zit de nodige echo op en door het veelvuldig gebruik van de slidegitaar blijft het steeds bluesy, ook op de momenten dat er wat meer drones insluipen. Von Wieding noemt zichzelf “niet zo’n goede muzikant”. Voor een niet zo goede muzikant heeft ‘ie dan wel een heel bijzondere plaat gemaakt. Mijn jaarlijstje staat al overvol, Larman Clamor staat daar nu ook te dringen.
(Bertus)



http://fastnbulbous.com/autumnal-albums-2012-10/

Alexander vonWieding is a German illustrator who has done album art for the likes of Wo Fat and Monster Magnet. He’s also recorded a series of albums as Larman Clamor that sound like Tom Waits if he were buried in a swamp and revived with the help of a witchdoctor, Baron Samedi and the spirit of Howlin’ Wolf. Something this disfigured couldn’t have just come from the bayou, no matter how much mud, blood and hoodoo was involved. There’s also some ancient beasts from Germany’s Black Forest and dark fairy tales lurking about. While his self-titled debut and Altars To Turn Blood (2011) are collections of fragmented riffs and roughed-up Z.Z. Top boogie, Frogs shows more development in the songwriting department, resulting in the most satisfying album so far, and almost as fun as a closet of dancing skeletons.



http://theobelisk.net/obelisk/2012/09/10/larman-clamor-frogs-review/

Larman Clamor, Frogs: Deep into the Mudhole
Previously known only as V, the lone contributor to Larman Clamor’s boogie-ready assault of darkened Americana has pulled back the veil of mystery and revealed himself to be none other than Hamburg-based artist Alexander von Wieding, whose work has graced album covers from Karma to Burn, Trouble, Cortez and Nuclear Assault as well as Wo Fat, Lo-Pan, Mangoo, Sun Gods in Exile, Infernal Overdrive and countless others from the Small Stone Records discography. It should probably come as little surprise, then, that Small Stone (who’ve hit a point in their regularity of releases as to be more or less a permanent fixture around here) has signed on for the release of Larman Clamor’s second full-length collection of weirdo psych blues, Frogs. The album follows last year’s course-setting Altars to Turn Blood LP (review here) and self-titled EP (review here), and though I wrote the same in the bio for the release, I have no hesitation to note that it’s von Wieding’s best and most atmospherically solid collection yet. To his and the album’s benefit, the multi-instrumentalist/vocalist keeps it short, but over the course of Frogs’ 31 minutes and 11 tracks, he nonetheless develops a full-length flow — more even than the last time around – while also keeping the songs memorable within themselves. The unquestionable standout of the bunch is “The Mudhole Stomp,” which is as fitting a description of the Larman Clamor sound as I’ve heard, but von Wieding’s alternate-universe garage swamp blues makes for several such highlights, shifting into a moody midsection only to revive the barnyard boogie later on in the album’s second half. Greater incorporation of gritty electric guitar soloing amid the sometimes central, sometimes companion acoustic grooves and the perpetual threat of a far-back organ melody make Frogs just as dangerous as anything Larman Clamor has released to this point, and though the depth of arrangement has deepened, the project has maintained the sense of rawness central to the authenticity of its presentation. That is, if Larman Clamor went prog, it wouldn’t work. It needs to be this stripped down. It needs to sound like there’s one man behind it, hooked up to however many noisemaking contraptions he might be.
That said, one wonders what even a song like the opening title-track might sound like with some layer of unexpected percussion behind it – some pans being banged on, for example, or even the smack of two bricks into each other – in time with the track’s irresistible get-down pulse. The rhythm is no less effective for their absence, von Wieding leading the way (his own way, that is) with a George Thorogood-esque start-stop guitar and sundry grunts about the frogs coming into his house. I had no idea Hamburg had amphibian issues, but climate change is a bastard and at this point I’ll believe anything. Like all of Larman Clamor’s output to date, “Frogs” effectively contrasts its urban origins with countrified swagger, and in any case, von Wieding isn’t the first city boy in the world to sing about the swamp. He does it well, and “Seven Slugs o’ Mud” might not bring Frogs past five minutes into its total runtime, but the opening duo has enough movement in it to break a sweat nonetheless, quickly establishing and pushing forward within a heavy momentum punctuated by tambourine and a continuingly appropriate thematic of all things slimy, cold-blooded and found in or around pondscum. “Seven Slugs o’ Mud” is fuller sounding, bordering on some of von Wieding’s appreciation for Tom Waits – the organ would put it over the top on that regard, but it’s not to be – and makes a solid setup for the contrast that the instrumental minimalism of “Mill Wheel Alchemy” provides, acoustic guitar providing both melody and rhythm in a series of taps and strums that lead to thicker, fuzzier electrics, loosely, vaguely riffed behind a mounting solo that one imagines played through a busted old amp in the woods, far away from any ears but those of the tape machine onto which it was recorded. If Frogs establishes anything, it’s von Wieding’s prowess as a guitarist. As the sole instrumentalist, vocalist and songwriter in all of Larman Clamor, he leaves himself room to handle a bit of soulful lead work in the record’s more atmospheric stretches, “Mill Wheel Alchemy” being one of them, before “The Mudhole Stomp” offers Frogs’ most potent take on the bizarre balance in the band’s sound between gravely-delivered blues and psychedelic grooving.
And as many one-man projects as there are out there working in and around Americana influences, Larman Clamor is unique among them for the headfirstness with which it dives into the style. A repetitive, insistent guitar line complements the heavy feet of “The Mudhole Stomp,” and von Wieding switches effectively between mumbles and shouts vocally to underscore the otherworldly nature of his incantations, a layer of slide guitar behind seeming to bounce as though on a spring. From there, Frogs takes a turn into the ambient, a spoken vocal over the initial moments of guitar, far-back organ, bass and snare drum of “Undead Waters” reminding somewhat of Phil Anselmo circa the second Down album without being blatant either in cadence or mood. Larman Clamor’s brooding stretches prove no less effective than the party it seems willing at any moment to host, and it’s not often one things of handclaps as an element one might use to play up a feeling of morbidity, but somehow in the build of the two-minute “Undead Waters,” they do, and “Mine to Grind” maintains the darkness of atmosphere, a slogging rhythm – is that a washboard I hear? – playing out with bluesy electric and acoustic guitar riffs and moody, subdued vocalizing. There’s a vague build, or at least a linear course to “Mine to Grind,” but really the song functions best in the context of the album as a whole, offering a midsection glimpse into the overarching threat in the sound – the alligator hiding in the water. No less adept at playing one element off another than the switch between “Mill Wheel Alchemy” and “The Mudhole Stomp,” “Potions and Secrets” may be the shortest cut on Frogs at 1:25, but it’s also the purest moment of psychedelia, organ, drums and guitar working in tandem toward some ethereal mini-sprawl, still definitely of the mud and the tall grass, but at very least looking at the sky. From there, no place to go but back to the county fair, so “Black Cylinder” revives the one, two, three, four beat and forward push of the early-album material and gives a glimpse perhaps at some future strangeness to come in a short break of quirky percussion and hairy distorted guitar.
At a luxurious four minutes and three seconds, “Gorgon’s Gold” is among the longest tracks in Larman Clamor’s fast-expanding catalog. It begins a three-minutes-plus closing trio – “Gorgon’s Gold,” “Within Temples of Mold” and “Journey of the Serpents” – that seems bent on expanding the atmospheric and stylistic formula of the rest of the album. Hard-plucked strings in “Gorgon’s Gold” set up electric strumming, slide guitar, blown-out vocals, organ and a beat-keeping snare, and though by the time the full reach of the track is established, it’s more than halfway through, that seems to have been the idea in the first place, von Wieding having set a vibe like he started playing in a room and others just came in and picked up instruments as time went on. Of course, it’s all him, so that’s not the case, but the more fleshed-out feel of “Gorgon’s Gold” continues into “Within Temples of Mold” – the rhyming of the track names emblematic of an overarching rhythm at the core of Frogs permeating every aspect of it – which despite being instrumental, makes me wish von Wieding had six or seven compatriots in the project with whom he could embark on extended countrified jams. The song has sway more than swagger, but the lead guitar does an effective job anyway of filling a lyrical gap, and “Journey of the Serpents” would be an epic in the context of thicker tonality, but even as it is, the payoff that the first half builds toward is palpable, fuzz rhythm tossed in with lead, drum stomp, acoustic, moaning vocals and a dead-on riffy groove. That groove breaks down, one instrumental layer at a time, to its most basic elements before the song ends, and one is reminded of the subtle complexity in von Wieding’s approach to the recording: As basic as these songs feel, they’re not. Frogs pushes Larman Clamor’s arrangements into dark, yet-uncharted waters, but never loses sight either of the shore it’s leaving behind or the necessary loneliness of the blues at its base. As exciting as it is to think of what avenues for future exploration this might portend for von Wieding’s solo venture, what matters most for the time being is that the album makes each of its experiments work in the context of its own goals, and grows the idea of what Larman Clamor is without sacrificing what the project initially set out to be. As von Wieding continues to work at a pace of output no less kinetic than the material he presents, Frogs warrants catching before a follow-up surfaces.



http://recordtipper.wordpress.com/?s=larman+clamor

Larman Clamor is the solo project of Alexander von Wieding, illustrator who´s done album covers for the likes of Monster Magnet, Karma to Burn, Wo-Fat, and countless others. Frogs is his second full-length and can be heard here.
Details for the release says:
I´m really looking forward to this one, and the whole package sounds like a real killer. Oh, and the music is great to. Limited to 400.



http://rockblogbluesspot.com/2013/03/10/larman-clamor-frogs/#more-3081

Den Blues, den “Larman Clamor”, alias “Alexander von Wieding”, Musiker und Illustrator, auf dieser CD vorträgt, interpretiere ich so: “Blind Lemon Jefferson, Charlie Patton und Robert Johnson Screaming` And Hollerin` The Blues”.
“John Lee Hooker, Junior Kimbrough und R.L.Burnside” tanzen zusammen den “Endless Boogie” mit den Southern Women in den Juke Joints über den Wolken, “Spoonful”.
Und auf den Straßen Hamburgs schmirgelt Abi Wallenstein inbrünstig die Seele in den Blues und schruppt mit seiner Dobro das Gelackte und Polierte ab.
Und das ist noch nicht das Ende dieser großartigen Werkschau aus dem Hause “Smallstone Records”, denn das beiliegende, mehrseitige Booklet veredelt die Musik auch noch visuell.
Der Rezensent geniesst auch die gemalte und gezeichnete Welt des Protagonisten. Düstere und schreiende Farben, Bilder mit magischer Ausdruckskraft.
In der Vergangenheit gestaltete der Illustrator aus Hamburg zahlreiche Cover von Bands aus dem musikalischen Dunstkreis des Stoner- und Desert Rock, wie “Monster Magnet”, “Karma To Burn”, “Tia Carrera”, “Wo-Fat” und “Sasquatsch”.
Seine zweite CD/ LP, die erste erschien 2011 als EP mit dem Titel “Altars To Turn Blood”,  beinhaltet 11 Kompositionen.
Alle auf eigener Scholle gepflanzt, gewachsen, gemixt, produziert und geerntet. Alle Instrumente selber gespielt.
Brütend heiß, mystisch, psychedelisch, betörend, rau, verzerrt, mit klirrender, unterirdischer Stimme, Mojo garantiert!
Ich, als Mitglied des Vereins der Vinyltrunkenen, hab mir natürlich eine der auf 400 Stück limitierten, grün schimmernden Vinylausgaben gekauft. Auch um die Bilder in größerem Maßstab zu erforschen.
Nun zur Musik, zum Beispiel “Black Cylinder”: Raue, verzerrrte Stimme, verzerrte Slide Gitarre, trommelnder und auch noch durch Tamburin unterstützter Rhythmus. Ein dreckiger, schwülheiß treibender Boogie für die Whiskeyschmuggel Fahrt durch die Swamplands des Südens, “A Demon Born In Acid” heißt es so treffend im Text.
Das Titelstück “Frogs” ist auch so eine Schmuggelfahrt, ohne Rücksicht auf Verluste. Nach vorne stampfender, verzerrter Boogie. Dieser wird in diesem Fall unterstützt vom Honky Tonk Piano und einem minimierten Banjo Outro, das noch zusätzlich reichlich Prozente in die Flüssigkeit giesst.
Beim “Mudhole Stomp” tanzt du, mit einer Flasche Moonshine in der linken, einer Maid im Baumwollkleid im rechten Arm, in einem Juke Joint, glücklich und zufrieden mit der Welt.
Die Gitarrenknaller “Potions & Secrets” und “Mill Wheel Alchemy” sind prall gefüllt mit Seele und Melancholie, die Welt des instrumentalen Blues in 85 bzw. 200 Sekunden erklärt, da bleiben keine Fragen offen.
Der psychedelische Blues des Alexander von Wieding besetzt eine musikalische Nische in deutschen Landen. International vergleichbar ist seine Musik meiner Meinung nach mit “Elam McKnight”, “Left Lane Cruiser”, “Black Diamond Heavies” oder “Honkeyfinger”.
Diesen großartigen Stoff von Larman Clamor würde ich gerne mal in einem Juke Joint inhalieren, anschließender Rausch garantiert….(Volker).



http://www.rocktimes.de/gesamt/l/larman_clamor/frogs.html

Larman Clamor ist Alexander von Wieding. Wenn man sagt, dass Alexander von Wieding Illustrator ist, dann kann man sich auf seine Person bezogen nicht vorstellen, was er alles illustriert hat. Von T-Shirts, Label-Logos, Bandplakaten, Kinderbüchern über SF/Fantasy/Mystery bis hin zu Coverart ist alles dabei und was einem noch so einfällt. Bei letztgenanntem Stichwort kann man gar nicht alle Bands aufzählen. Ein verschwindend geringer Teil aus der Liste: Abrahma, Cortez,
Karma To Burn, Mangoo, Monster Magnet, Nuclear Assault, Tankard.
Alexander von Wieding ist im wahrsten Sinn des Wortes Künstler, der mit seinem Ein-Mann-Projekt Larman Clamor Musik macht. Verdammt interessante Musik, die im Blues verwurzelt ist. Den 12-Takter spielt der Protagonist in einer aufsehenerregenden Version, vermischt mit Garage- oder Punk-Elementen. Larman Clamor hat die gleiche Wirkung, wie der Blues eines Robert Johnson, nur befinden wir uns mittlerweile schon in einem anderen Jahrhundert, einhergehend mit einer deutlichen Entwicklung des nicht nur aus drei Tönen bestehenden Genres. Aus diesem Blickwinkel ist vorliegende Platte genau der Anzug, in den die elf Tracks von “Frogs” passen.
Natürlich muss man keinem erzählen, wer für die künstlerische Gestaltung (inklusive Booklet), Aufnahmen, Produktion oder Mixing des Albums zuständig ist. So passt das Coverbild zur Musik. Der Frosch mit dem quer durch den Hals gedrehten Korkenzieher verkörpert die futuristische Richtung des psychedelischen Larman Clamor-Blues. Über die Sinnhaftigkeit des Flaschenöffners geht es hier aber nicht, sondern die Musik steht hier natürlich im Vordergrund. “Frogs” ist von vorne bis hinten Alexander von Wiedings Werk. Mit der Gründung 2008 war die Band zunächst ein Duo. Der erste Tonträger war eine EP namens “Larman Clamor” und 2011 folgte “Altars To Turn Blood”.
Für den Nicht-Puristen ist dieses Album die Entdeckung von Klangwelten, die einem wirklich selten über den Weg laufen, respektive an die Ohren kommen. Die Bassdrum serviert einen effektiv-einfachen Groove, der Sechssaiter ist mit einem Verzerrfaktor versehen, in regentänzerischer Manier sorgt das Tamburin für zusätzliche Rhythmik und im Hintergrund erklingen psychedelisch wabernde Keyboard-Sounds. Das Gitarrensolo ist kurz und voller Emotionen. Kaum zu glauben, was der Protagonist in nicht ganz eineinhalb Minuten an Feeling unterbringt … “Potions & Secrets”.
Danach gibt es einen von gigantisch guten Handtrommeln begleiten Gitarren-Boogie, den
Canned Heat noch nie gespielt hat. Den infizierenden Boogie hat auch der Opener “Frogs”. Immer geradeaus auf dem Highway muss man sich in dieser Nummer unbedingt das Banjo anhören, das den Track ganz zum Schluss quasi einsam und alleine beendet. Alexander von Wieding singt mit rauer Stimme und Larman Clamor rockt. “Gorgon’s Gold” ist düsterer Blues, der sich von einem bedächtigen Beginn zu einer Dynamik-Nummer mit Voodoo-Slidegitarre entwickelt. Jeder Song hat seine eigenen, speziellen Duftmarken und insgesamt ist es ein Album, das auch durch Instrumentals von einem überzeugenden Larman Clamor-Dach überzogen wird. Die Feinheiten in den Arrangements sind beeindruckend.
Auf sehr interessante Art und Weise gelingt es dem Multiinstrumentalisten, Seitenstränge des Zwölftakers wie Country oder Funk einfließen zu lassen. Sie werden nicht unbedingt prominent in den Vordergrund gestellt, aber man vernimmt sie dennoch. Es ist verblüffend, zu welchen Fantasien einen die Scheibe anregt. Da pfeift man auf die vielleicht zu kurze Spielzeit von etwas über einer halben Stunde, wenn dem Hörer so gute Musik geboten wird.
Mag sein, dass der Leser Bob Log III oder O Lendário Chuckrobillyman kennt, aber Larman Clamors Baumwollfeld befindet sich nicht unbedingt in Sichtweite dieser beiden Musiker. Die Frösche hüpfen in eine andere Richtung. Hier ist mehr Mystik und verteufelt gute Spannung angesagt. Ein Applaus für den besonderen Blues Marke Larman Clamor. Wenn man dieses Projekt von Alexander von Wieding noch nicht auf der Liste hat, wird es höchste Zeit.




ALTARS TO TURN BLOOD

http://www.rocktimes.de/gesamt/l/larman_clamor/altars_to_turn_blood.html

Es gibt auch einen Tonträger vor Frogs. Alexander von Wieding aka Larman Clamor oder einfach V wie er sich hier nennt, veröffentlichte “Altars To Turn Blood” im Jahr 2011. Auch auf diesem Album spielt er alle Instrumente und ist natürlich auch für den Gesang zuständig.
Die neun Eigenkompositionen sind vom Blues geprägt, aber es kommt ja immer darauf an, mit welcher Sichtweise/welchem Verständnis sich ein Künstler/eine Band dem 12-Takter nähert. Larman Clamor ist da eindeutig auf dem psychedelischen, eher düsteren Baumwollfeld unterwegs.
Die Songs kommen, bis auf eine Ausnahme (“Woven From Blood”) mit einer relativ kurzen Spielzeit aus. Es ist allerdings erstaunlich, welche Wirkung die Nummern auf den Hörer haben. In der Kürze liegt die Würze könnte man formulieren. Larman Clamor hat den Blues auf sein massives Fundament reduziert und ihm seine eigene Persönlichkeit verpasst. “Altars To Turn Blood” ist die Gelegenheit für den aufgeschlossenen, vorurteilsfreien Bluesfan eine Richtung der Mutter des Rocks kennenzulernen, die man in dieser Art wohl nicht oft zu Ohren bekommt.
Interessant wäre im Zusammenhang mit der vorliegenden Platte, wie sich der Larman Clamor-Stil entwickelt hat. Es wäre ein Ding, wenn diese Art des Blues einfach so zum Leben erweckt wurde. Einen Boogie-Riff in Moll oder Dur kann man kaum verändern. Canned Heat, John Lee Hooker, ZZ Top und andere haben beziehungsweise hatten diese Form populär gemacht.
Bei Larman Clamors “Limb Creek Boogie” ist es wichtig, was neben den immer wieder infizierenden Riffs zwischendrin passiert. Da wird die Slidegitarre eingesetzt, V singt mit einer furchterregenden, tiefen Stimme und wie er dann diese Riffs zwischendrin moduliert, ist eine Klasse für sich. Das dezente Hintergrundtreiben der Keyboards macht die Nummer zu einem anderen Boogie, einem Hinhörer.
Das Alexander von Wieding-Projekt serviert uns in gewisser Weise aber auch den (teilweise) akustischen Blues in einer mystischen, düsteren Art. “Woven From Blood” präsentiert die diabolische Blues-Kultur. Neben der Musik passt der Gesang perfekt und der Text ist schließlich der Maßanzug des Liedes. Hier ein Auszug:
»The Aether lizards guide the rider at dawn
Yeah, he’s woven from blood
And he’ll get out a’ ya
Through the veins you know
Cos he’s woven from all the blood
Feel the weaving now?
He’ll hamstring you and bury ya«

Das vom Tempo her fast am Stillstand angesiedelte “Handful Of Hex” wird mit Chorunterstützung gesungen und verfügt über einen sich durch das gesamte Stück ziehenden Dauerton, der einen (im positiven Sinn) schier wahnsinnig machen kann. “Great Plains Lizard Priest” ist ein Instrumental, in dem einige verschiedene Percussion-Elemente zu hören sind. Auch ohne Text hat Larman Clamor eine unheimliche Aussagekraft.
Mit dem zurückhaltend-nachdenklichen “Black Sheep” entlässt man den Hörer in ein Vakuum. Die Stille nach den letzten verklungenen Tönen ist fast unerträglich. Larman Clamor hat in den fünfundzwanzig Minuten viel zu sagen, ist enorm ausdrucksstark, vielfältig, eigen und überzeugend. Mit “Frogs” gab es einen Nachfolger, der weitere Seiten von Larman Clamor offenbart.



http://theobelisk.net/obelisk/2011/11/02/larmanclamorreview/

Larman Clamor, Altars to Turn Blood: Cities of the Snake

A mere six months after the release of their self-titled debut EP, the apparently-well-motivated German outfit Larman Clamor returns with the inevitable follow-up full-length, Altars to Turn Blood. Perhaps even more impressively, they do so having lost one of their two members. Following the somewhat mysterious departure of drummer, organist and engineer R, Larman Clamor is down solely to guitarist, vocalist and visual artist V. You wouldn’t know it from the sound of Altars to Turn Blood — and in fact R might actually be on the record; the timing on his departure isn’t quite clear – which is as fully conceived and realized as was the EP, with an even bolder and crisper blend of gospel, blues, psychedelically-tinted Americana and throaty incantations. The atmosphere is nearly all swamp, and Larman Clamor seem to revel in breathing that moist air, rejoicing with Baptist fervor in arrangements of foreboding acoustic guitar, subdued moments leading to bombast, the occasional interjection of distortion, organ, hand-claps, etc. Arrangement-wise, Altars to Turn Blood is complex, but Larman Clamor do well to also make it cohesive, so that the record is never especially out of balance where it doesn’t mean to be, and where clarity of sound never comes at the sacrifice of natural feel, and vice versa.
Because the arrangements are varied however stylistically consistent the songs might be, Altars to Turn Blood is best heard at least once on headphones. There are some parts that are just so quiet, so intimate, that proximity between speakers and ears actually comes to matter as it rarely does. Whether it’s the organ whistle underscoring the late-arriving “Handful of Hex” or the Delta swing of centerpiece “Limb Creek Boogie,” there’s something to be said for embracing the live feeling Larman Clamor create and making the listening experience as personal as possible. You don’t have to close your eyes, but it might help. It’s also worth noting that, at just under 25 minutes, Altars to Turn Blood is an almost unspeakably-quick listen, but that too winds up working to the record’s advantage. There’s no way it’s anything less than a full-length album. The nine songs express a complete structural and atmospheric idea and with each audible clicking on and off of the tape recorder, you’re re-immersed in the naturalistic feel; the tape hum feels always present in the sparse moments, somehow enhancing even the chant-backed 36-seconds of “Lost Path through the Mountains.” The album opens with its title-track, which also winds up being one of the more raucous moments, the layered distorted whispers of the titular line adding more than a modicum of danger to the forceful strumming and percussive build. Blown-out yelling, glass bottle banging, guitars, bongos, and, finally, release with laughter, and Altars to Turn Blood is under way. “Lost Path through the Mountains” is underscored by what sounds like banging on the side of an acoustic guitar, and that leads right into the electrified “Deep in the Tar,” which is no less rhythmic.
It’s here that Larman Clamor inject their bluesy take with a bit of love for the heavy: That riff is simply undeniable. Layered vocals result in a highlight cut and one of Altars to Turn Blood’s most lasting impressions, but most of all, what the song does is teem with an energy that’s both unbridled and restrained. There’s just something about “Deep in the Tar” that feels like it wants to punch you in the face, which makes the turn into the masterfully subdued beginning of “Woven From Blood” all the more impressive. V adopts a dry-throated vocal worthy of Scott Kelly for the first verse, but the song soon develops backing vocals, distorted guitar, organ and hand-claps to go with its heavy-footed, ultra-simple initial percussion line. At a sprawling 4:14, “Woven From Blood” is the longest song on Altars to Turn Blood, and really, it’s a full-length unto itself at that point. A bluesy guitar solo weeds its way in at around three minutes, and the next minute morphs into a jam that could last another 10 and I wouldn’t have complained. But as much as the band has going on, there’s nothing on these songs that feels superfluous, and 10 minutes of indulgently riding out the same part probably would be, so kudos to the band for moving directly forward into the get-up-out-your-chair “Limb Creek Boogie,” and keeping the album as lean as possible. This kind of guitar line I always associate with John Lee Hooker, but you could probably find other electric blues sources as well, and probably someone better suited to make the connection. Either way, the acoustic slide guitar that seems to come out of nowhere to end the track nonetheless provides suitable transition into “Great Plains Lizard Priest,” which in turn capitalizes on the elements that Larman Clamor have managed – in just 13 minutes, mind you – to turn into “familiar.”
If the title wasn’t enough of a giveaway, “Great Plains Lizard Priest” makes no attempt to hide its Americana bent. Entirely instrumental, it makes its stand in rich layered percussion and guitar lines, and is soon clicked off to make way for “Phantom & Rhinosaur,” where Larman Clamor remind that one of the things they did so well on the EP preceding this record was meld drone elements behind their bluesy propulsions. Acoustic and electric guitar work in tandem on “Phantom & Rhinosaur” (no clues as to which is the phantom and which the rhinosaur), but the song retains for the most part its quiet, somewhat morbid feel. There’s a build, as there is with many of the tracks on Altars to Turn Blood, but in terms of the arrangement, Larman Clamor hold back from bringing in much more than a tambourine, which works well in providing a quiet moment prior to the last-minute standout cut “Handful of Hex.” It feels like a revival in more than just its gospel sensibilities, with the thick electric guitar brought to the fore above the acoustics and a near-catchy delivery of the title line reminding a bit of what Larman Clamor was able to make out of the first song. Once more, the love of Delta blues is worn on the sleeve, but there’s a rock underpinning as well, and after three songs in a row floating around or less than three minutes in length, “Handful of Hex” feels more substantial at 3:51 and probably could have closed Altars to Turn Blood had “Black Sheep” fit anywhere else – which I’ve no doubt it didn’t.
V follows the guitar closely in terms of the vocal melody of the verse, and there are some vague distortions behind him – enough so that if you wanted to call Larman Clamor experimental, you probably could – that mesh with the rattlesnake shaker, blues electric, organ and percussion to solidify one last atmosphere before the album ends. The intensity of a song like “Deep in the Tar” is nowhere to be found on “Black Sheep,” which makes it all the more fitting a finale. What’s hardest to believe about Altars to Turn Blood is just how much ground is covered in the short runtime. The EP showed a rudimentary kind of potential, and I think there’s still plenty of room for stylistic growth and expansion based on what I’m hearing on these nine tracks, but Altars to Turn Blood is stunning in what it creates from parts that in less skillful arrangements would seem choppy or disparate. Like Wovenhand or Earth, Larman Clamor proves to have an appeal beyond that which their sound might most superficially present. With the departure of R, I don’t know what the future holds for the Hamburg outfit, but Altars to Turn Blood should easily earn converts to their snake-handling, backwoods congregation.



http://www.thesodashop.us/2011/11/16/review-larman-clamor-altars-to-turn-blood/

After 2 successful releases earlier in the year, Larman Clamor have released their latest full length album titled Altars To Turn Blood. For those of you new to the band, Larman Clamor are a two piece from Germany. They play a mixture of different styles including delta blues, lo-fi, garage, stoner, psychedelic and swamp rock.
Altars To Turn Blood channels some of the influences including ZZ Top, R.L. Burnside, Dr. John, Iron Butterfly, The White Stripes, Endless Boogie, early Monster Magnet, Clutch, Earth, Blackwolfgoat, and Creedence Clearwater Revival to name a few. It rocks hard and it’s also ambient and bluesy at the same time. The majority of the album is a bit more down tempo and mellow as is evident in tracks like “Handful of Hex,” “Altars To Turn Blood” and “Phantom & Rinosaur.” A few of the more upbeat songs are “Deep In The Tar” and “Limb Creek Boogie.”
It’s nice to see Larman Clamor continue their winning formula for music but yet, at the same time, innovate and try something a little different. Some bands try it and it doesn’t work while others try and succeed. Larman Clamor are one of the successful bands. Altars To Turn Blood was an album I enjoyed immensly in the limited time I’ve had it. I liked how it could be dark and droney but yet uplifting at times. I liked the sound, the ambiance and tone throughout the album. Here’s hoping that the band turns out some more tunes likes these sooner rather than later.



http://chybuccasounds.com/

And then there was one. Six months feels like a lifetime in the soul-searching wasteland of obscurity; so much so that the promising – yet mysterious – German pairing of R and V, have cut short their blossoming chemistry.
Still content with using the Larman Clamor moniker, Alters to Turn Blood sees guitarist and vocalist, V, going it alone; and without the use of R’s organ grinds and lo-fi beats, this atmospheric nine-track release, is an ambitious shot of nailing dark Americana.
Influenced by the likes of: Mark Lanegan, Tom Watts – and to a lesser extent, Seasick Steve, V’s gravel-voiced croon is low and smoky; complimenting his blend of gospel-hobo-blues well, while still managing to sound like a haunted man: alienated, depressed and downtrodden. Although there are occasions where R’s ghostly whispers sweep through the darkness, this is more or less a solo record; and with a running time of just over 25 minutes, not a very long one.



http://www.metalnews.de/cds/Larman+Clamor+-+Altars+To+Turn+Blood.7292.html

“Altäre, Blut, Whiskey und Blues”

Bei LARMAN CLAMOR handelt es sich um ein Ein-Mann-Projekt von Alexander von Wieding, alias V., seines Zeichens nicht nur Multiinstrumentalist und Songwriter auf „Altars To Turn Blood“, dem bereits zweiten Album seiner „Band“, sondern auch sein eigener Layouter und Cover-Gestalter.
Gut, insgesamt alles kein großes Wunder, denn wenn man hier mal einen kurzen Blick riskiert, dann kann man schnell feststellen, dass Herr von Wieding ein durchaus begnadeter Zeichner, Cover- bzw. Posterkünstler ist, der u.a. zuletzt für KARMA TO BURN und MONSTER MAGNET designt hat.
Die Musik bzw. vielmehr die schwarze Seele von LARMAN CLAMOR nährt sich von gespenstischem Gospel, Garage und Finsternis, von schwerfälligem Sumpf-Blues [das Whiskey-getränkte, verzerrte „Deep In The Tar“ oder das reduktionistische „Woven From Blood“] und von [Dark/Gothic] Americana [„Handful Of Hex“] und vermengt das alles auch noch auf ziemlich einzigartige und ausgesprochen geschmackvolle Art und Weise mit seiner jeweils ganz eigenen Version von Country, Western, Drone und Psychedelic, Sludge, Stoner und Southern Rock [„Great Plains Lizard Priest“] zwischen ZZ TOP [man höre „Limb Creek Boogie“], 16 HORSEPOWER/WOVENHAND [„Black Sheep“] und EARTH.
Das hat Stil, Atmosphäre und bietet eine gelungene Abwechslung zu handelsüblichem Bluesrock oder gar dem Stoner-Psychedelic-Retro-Einheitsbrei, den man in der letzten Zeit gar nicht so selten vorgesetzt bekommt.
Obendrein passend knochentrocken produziert, könnte LARMAN CLAMOR mit „Altars To Turn Blood“ somit für den einen oder anderen Hörer mit einer Schwäche für Gevatter Blues, Booze und die dunkle Seite der Macht genau den richtigen Soundtrack liefern…



LARMAN CLAMOR

http://www.cosmiclava.com/reviews-interviews/record-reviews/records-l/larman-clamor-st-cd.html

LARMAN CLAMOR are two guys from North Germany, hard as it to believe that only two people make this thick, rich audio gumbo. On their self-titled debut CD, they play the blues, post-modern delta blues with licks of psychedelia, 1960′s garage rock and heavy rock. This isn’t completely original but nevertheless sounds as fresh and progressive as if LARMAN CLAMOR had invented their own musical genre. And although the band consists of only two members (R and V), you will hear more than just guitars, vocals and drums. There’s also an organ which adds a nice 1970′s vibe to songs as, for example, ‘Buzz Bizarre’. Moreover, LARMAN CLAMOR love to incorporate a couple of sonic gimmicks that lend the included seven songs a distinctive character.
However, it is particularly interesting here to note the different contrasts within the songs like in the opener ‘Ghost Daze & Rhythm’. Bluesy, acoustic guitars (that sound as if they have been taken from an old John Lee Hooker record) contrast with a fuzzy heaviness which provides a very cool sound picture. On the contrary, ‘Drone Embassy’ is more influenced by 1960′s garage rock whereas ‘Dark Box, Locked Secretly’ evokes an eerie, swampy atmosphere. This is one of the few instrumental tracks here where only an acoustic guitar can be heard, and nothing else. In these moments it becomes apparent that these guys have learnt their delta blues lesson.
This also applies to the last song, ‘Inside The Black Beam’, which is my absolute fave on this debut. So, if you were wondering if these cats can play the blues with conviction then you will find a positive answer in both tracks. I have to admit though that I don’t like each song. ‘Let Slip The Bees Of War’ annoys me with its obtrusive party mood, primarily due to the vocals. On the whole, I like V’s vocals but there are also a few moments where his style doesn’t fit so well with the music. But in all, LARMAN CLAMOR has made a good start. Their music is gritty, earthy, playful and keenly experimental. Nice going!
(KK)



http://theobelisk.net/obelisk/2011/04/20/larmanclamorotr/

In the interest of continuing to use On the Radar to spread the word on cool and interesting new acts I actually dig, I humbly present Hamburg, Germany, duo Larman Clamor, whose project seems to be drawing the long line between drunken gospel and heavy rock, injecting some demented psych and garage blues along the way. Their first, self-released, self-titled EP is available now for listening on Bandcamp, on Facebook, and most conveniently, on the player below.
Comprised of the singly-lettered R (drums, organ and engineer) and V (guitar, vocals and art), Larman Clamor‘s sound is both busy and subdued. A drunken preacher stumbling down a rain-soaked road in the middle of the night might start belting out Larman Clamor opener “Ghost Daze & Rhythm,” which is one of two tracks on the demo with handclaps. The songs are diverse in their approach, but consistent in atmosphere, and there’s even a bit of humor (there just has to be) driving the vocals on “Drone Embassy.” It’s a quick release, and there’s an awful lot going on stylistically, but Larman Clamor‘s warped sensibility makes the EP fascinating from the start.
Fans of the experimental and terminally weird will want to check out the tracks, and consider yourself as doing so with my recommendation. Another cool band taking disparate genre elements and making something of their own from them, I look forward to hearing what Larman Clamor do next.



http://www.thesodashop.us/2011/06/27/current-rotation-6272011/

“There’s no doubt that we love psych blues here at The Soda Shop. New comers Larman Clamor just released their self titled album which is a psych blues lover’s wet dream. It has plenty of heavy blues riffs through out. One thing I love about this album is the use of a Hammond organ through out. It adds a nice little warm touch to it. Another thing that really sets this album apart from all others is the fact that not one song sounds even remotely close to another on it. Each song has the ability to trick the listener into thinking this is a comp album.The production and quality of the album is top notch. By listening you would think that this is a full fledged 4 or 5 piece band but it’s not. It’s the work of 2 very talented individuals. Hear for yourself.”