With a soulful sound and soul-baring lyrics, the Afghan Whigs rode the post-Nirvana boom to the big leagues. Their frontman explains his exploration of the male ego – and how Usher got the band back together The Afghan Whigs were always heavier than their grunge-era brethren. Not musically – their turbulent, sophisticated rock was rooted in soul and funk, and frontman Greg Dulli says the group only embraced distortion in order to be heard over the volume of metalhead drummer Steve Earle’s playing. “Any kind of jangle wasn’t gonna work.” But Dulli’s lyrics, inspired by the likes of Motown bards Holland/Dozier/Holland, were pitch-black, depicting lovers in co-dependent cycles of betrayal and recrimination. Afghan Whigs songs take place in a world where sin is irresistible, punishment inevitable and some kind of judgment inescapable. “My songs acknowledge consequence, more than they deal in judgment,” Dulli says, between sips of water in the bar of a London hotel. Forty years on from their formation, the Whigs are resurgent. Their new album, Soft Control, ably holds its own with earlier dark masterpieces such as their 1993 breakthrough Gentlemen, and its bleakly funky conceptual follow-up, 1996’s Black Love – records that affirmed their frontman as alt-rock’s poet of arch romantic dysfunction. “I understood sorrow and loss and loneliness from an early age,” he says. His dad was the youngest of 14; several of Dulli’s uncles died when he was young. “I had been there, so why wouldn’t I explore it?” Continue reading...
‘I had to learn how to be a feminist’: Greg Dulli on surviving grunge, shunning misogyny, and Afghan Whigs’ glorious return
With a soulful sound and soul-baring lyrics, the Afghan Whigs rode the post-Nirvana boom to the big leagues. Their frontman explains his exploration of the male ego – and how Usher got the band back together The Afghan Whigs were always heavier than their grunge-era brethren. Not musically – their turbulent, sophisticated rock was rooted in soul and funk, and frontman Greg Dulli says the group only embraced distortion in order to be heard over the volume of metalhead drummer Steve Earle’s playing. “Any kind of jangle wasn’t gonna work.” But Dulli’s lyrics, inspired by the likes of Motown bards Holland/Dozier/Holland, were pitch-black, depicting lovers in co-dependent cycles of betrayal and recrimination. Afghan Whigs songs take place in a world where sin is irresistible, punishment inevitable and some kind of judgment inescapable. “My songs acknowledge consequence, more than they deal in judgment,” Dulli says, between sips of water in the bar of a London hotel. Forty years on from their formation, the Whigs are resurgent. Their new album, Soft Control, ably holds its own with earlier dark masterpieces such as their 1993 breakthrough Gentlemen, and its bleakly funky conceptual follow-up, 1996’s Black Love – records that affirmed their frontman as alt-rock’s poet of arch romantic dysfunction. “I understood sorrow and loss and loneliness from an early age,” he says. His dad was the youngest of 14; several of Dulli’s uncles died when he was young. “I had been there, so why wouldn’t I explore it?” Continue reading...