The serpentine-centric Lamia by Clash Bowley is one of those works that defies genres and conventions. It has the insolent defiance and uncompromising energy of Punk. It also boasts an experimental touch and what many might consider the modus operandi of Avant-garde. Clash himself is as unfettered as they come, seeing little value in the tedious cliches that often come with being a musician. He writes songs and records them because that is what he does. Any questions? It doesn’t really matter because Clash isn’t eager to answer any.
In some ways, Lamia is the love child of The Doors and Wall Of Voodoo. There’s a shadowy Oingo Boingo presence that looms as well. The Mojave climate of the title track is the perfect choice to open such an eccentric and eclectic album. Clash’s vocals are idiosyncratic and suit his range well. The most outstanding aspect of this one for me was the multi track layering of the percussion. Much like The Doors used Native drumming patterns to Great effect on “My Wild Love,” Clash takes things to another level. The drum tracks sound replete and pulsating, giving “Lamia,” a controlled yet frantic urgency.
“Rain” is on the other end of the spectrum, and even comes off as satire at times. Clash’s uses a vocal style that sounds like a drunken ZZ Top session at 3 in the morning. “GooseFlesh,” hears Clash revert back to his “standard,” approach. This slinky piece captures the zany but straight style that Clash so effortlessly blends. Even more enriching is that “GooseFlesh” is easy to groove to. This is definitely a track you will want to sample.
BANDCAMP: https://clashbowley.bandcamp.com/album/lamia
“Sleep: is essentially more of the same “ride the snake,” sentiments. It’s eerie and hypnotic, but feels slightly forgettable. I want to be your accessory/I Want to be your boy, Clash sings on “Kink.” With his style he has the ability to tackle blithely taboo subject matter and neutralize it. You find yourself falling in line with Clash and willfully embracing whatever journey he decides you will accommodate him on.
The atypical schism of “Clean” is actually a rather tepid and restrained piece. This one really spotlights Clash’s signature guitar style. “Gloria” is the penultimate track and it boasts an engaging groove. The bass section is subtle Bliss and Clash once again proves how effective his minimalistic and somewhat repetitive approach can be. “Gloria” is a quintessential work amongst of batch of equally compelling songs in their own right.
It’s too vague to limit Clash by labeling him an acquired taste. His work and his voice when channeled properly, could have a broad appeal. He is an artist that is characterized but not defined by his uncompromising vision. Lamia is the type of album you tell your music snob friends about, fully knowing it isn’t designed to speak directly to them. In fact, it doesn’t seem as if Clash’s music is for anyone other than the forces of inspiration he finds no reason to resist.
Heather Savage
