Hello reader,
Welcome back. Or welcome if this is your first visit to SWT. There’s plenty of good music content here.
Today, we’re going to delve into the Afghan Whigs. In March, we highlighted a song from their new album, “House of I“. Broadly speaking, the group has been creating beautiful alternative rock, with heavy elements of post-punk, grunge, soul, and even R&B throughout its history. Formed in Cincinnati in 1986 as an evolution of frontman Greg Dulli’s garage band The Black Republicans, the Whigs lineup has changed throughout the decades, and still features Dulli (lead vocals, guitar, keyboards) and fellow co-founder John Curley (bassist), and now features keyboardist, strings player, guitarist, and backing vocalist Rick G. Nelson (since 2011), drummer Patrick Keeler (since 2014) and most recent joinee guitarist Christopher Thorn (since 2021). The Afghan Whigs were originally active from 1986-2001, reunited very briefly in 2006 to record two songs, and have been playing together again from 2011 to the present day.
The late 80s saw the band emerge on the indie scene, and the 90s saw the band on the fantastic Sub Pop label, which brought their influential music into the homes of future musicians and many fans who are still die-hard to this day. Their 1993 release, Gentlemen, was an amazing exploration of a toxic relationship, featuring excellent songwriting by Dulli, and garnered widespread critical acclaim. The themes were heavy and dark, but wonderfully explored from a perspective and with thoroughness that wasn’t as common at the time. In fact, for many, it is how Dulli and the band approach songwriting, and their often non-mainstream mindset toward lyrical themes, that have endured and continue to endure today. They’re not “alpha male” podcasters/streamers, and thank God for that. The album is highly rated and is considered one that landed on many year-end and best-of-the-decade lists. It’s also among the best albums of all time on multiple lists. It was where my own journey to the Afghan Whigs began, and it’s where I would suggest you delve in yourself after listening to today’s single. There are plenty of great, critically acclaimed albums in the group’s discography besides this gem, and several of them are from 2014 onward. It’s definitely a discography worth exploring.
Highlighting all of their discography includes the following full-length studio albums: Big Top Halloween (1988), Up in It (1990), their first positively reviewed album, Congregation (1992), Gentlemen (1993), Black Love (1996), 1965 (1998), Do to the Beast (2014), In Spades (2017), How Do You Burn? (2022), as well as the Uptown Avondale EP (1992), What Jail Is Like EP (1994), Bonnie & Clyde EP (1996), along with a couple of live albums as well as compilation albums.
And on Friday, August 21st, for your listening pleasure via Royal Cream/BMG comes the band’s tenth full-length studio album, Soft Control. The bio on the band’s site about the album summarizes it so well, stating, “The Afghan Whigs’ new album, Soft Control, is a testament to the old David Bowie quote, where he describes aging as ‘an extraordinary process where you become the person you always should have been.’ By now, the volatile years of band leader Greg Dulli’s youth have been substituted with a wry and self-aware satori. The edge and sensitive temperament remain, but the unchecked infernos of ego and rage no longer threaten personal immolation. And Dulli’s vocals are simultaneously the strongest and most delicate that they’ve ever been.
‘I’ve worked hard on my inner peace,’ Dulli commented. ‘I was an angry young man, and it fueled my art, ambition, and my drive. I wouldn’t change anything because I can’t. But as I got into photography and other art forms, I realized that I’m not in competition with anyone – including myself. Now, I know what I’m doing, and there’s a quiet confidence that comes with being able to back it up.’
Soft Control was recorded at Fireside Sound in Joshua Tree, Marigny Studios in New Orleans, Gold Diggers Sound in East Hollywood, and Sycamore in Cincinnati. The band recorded 22 songs for the record, discarding several favorites because they didn’t seamlessly fit the taut 37-minute track listing. Additional cameos on the album come from former Afghan Whigs drummer Patrick Keeler, vocalist/violist Petra Haden, Bo Koster (My Morning Jacket), and many others.
The album captures The Afghan Whigs’ unique ability to conflagrate stab-you-in-your-nose bone guitars and cubist refractions of soul and R&B. You expect bangers from The Afghan Whigs, and there are bangers. Yet there is a reconciliation of loud volume and somber reflections, living life with joy and purpose while keeping one eye on the clock and remaining aware of the absurdity. The Afghan Whigs’ tenth album is a sterling addition to a singular body of work –a double-sided invitation to embrace the light and welcome the darkness.”
Exploring some of the songs in detail, the press release for the album leaves us with these thoughts from Dulli: “When I finished ‘Duvateen,’ it felt like my life passing before my eyes. The references to the teacher chasing me down the hall reminded me of my childhood. Digging a hole was an obvious allusion to a grave. I’m at a precipice in life where I can look behind and clearly see the forest of my youth, but I can also see the path to the other side. And it’s going to inform what I do for the rest of my days.”
And speaking about the album’s closer, “A Simulation,” Dulli notes, “It’s one of my most existential songs. I’m a very emotional person, and I get overwhelmed sometimes by injustice, sadness, and people and animals being hurt. I know I’m not the only one wondering, ‘what the fuck are we doing here?’”
Now that we’ve talked about the band’s history, their discography, and a bit about this current album and a couple of its songs, let’s get more hyped up. Both our ears and eyes by exploring a few of the songs via the Afghan Whigs YouTube channel:
The quick-paced visualizer for the rollicking opening song, “Jungle Roux”:
(All credits and rights to the Afghan Whigs)
Let’s go for a ride and some more adventure within the video for the song, “House of I”:
(All credits and rights to the Afghan Whigs)
The gorgeous black and white visuals within the video for the reflective song “Duvateen”:
(All credits and rights to the Afghan Whigs)
The fantastic song, “77”:
(All credits and rights to the Afghan Whigs)
The closer. The longest song on the album. Take a listen to “A Simulation”:
(All credits and rights to the Afghan Whigs)
Overall, Soft Control is another example of a fantastic album by the Afghan Whigs. Another reason to keep their fans happy. Not only did they reunite over a decade ago, but the current lineup continues to make some of their best albums, with truly catchy earworms for fans. And new fans alike. Welcome if that’s you. Kudos to the band and recording team. This album was knocked out of the park in every aspect, from the writing, themes, and lyrics to the incredible vocals and instrumentation, crafting memorable moments for listeners. So many melodies and melodic shifts. In my mind, there’s no filler, no bad songs on the album.
The album opens with the groovetastic “Jungle Roux,” and that flows well into the drum- and guitar-led “House of I”. The thumping drums and screeching guitar rock and chants. The pacing slows a bit on the piano-driven “Duvateen,” which continues the trend of three different but equally wonderful melodies so far on this album. A fact I don’t think anyone, much less Whigs fans, will complain about. Banger after banger, as some of the kids say. The next song, “My Lover,” opens with a more western vibe and groove, but the melody shifts with the vocals at times to more 90s pop/alternative vibes. The result is another great song that earworms into your mind. Kudos to the Whigs once again. The midpoint of the album slows down the mood. “The Deepest Part of the Darkest Shadow” is the album’s slow-dance song, as Dulli’s vocal delivery matches the piano while the melody gains more upbeat traction as the lyrics progress.
The second half of Soft Control begins with “Mariah Luster” and the twittering of birds in the background before instruments and human vocals are introduced. Claps, stomps, and more occur. Dulli’s passionate vocals lead to a melodic shift. The city, state song, “Memphis, Texas,” is next, and its beat and pacing, paired with Dulli’s vocals, again draw the listener in. “77” thumps and shimmers and shines. It’ll get you moving to the beat and singing along. The album flows well. “Loose Talk” begins the journey of getting the album ready to close out. It meanders, moving the songwriting forward, but also slows the BPM down a tad as it flows into the closer, “A Simulation,” which is, as Dulli noted above the YouTube songs in one of his quotes, an existential and emotive song. This is a slow burner that grew on me upon a few listens. Though some will love it from the moment they hear it. There’s no right or wrong, just gratitude that you’ve made it to the Afghan Whigs album listening party. Truly outstanding. Kudos.
All that said, Soft Control gets 4.5 out of 5 Scum Drops from me relative to all new full-length albums in 2026, as we do. Here at SWT, I don’t spend my time publishing reviews of anything less than a 4 Scum Drop album, so you know it’s a good release even before you click to read all of it. Trust in us. I think the album sits in the lower portion (84th-87th percentile) of the 4.5 range, which is still quite good. From start to finish, you’ll love this album, and it’s worth adding to your collection in the format(s) of your choosing. Add it today!
I’ll always advocate that you take the time to listen to every album in its entirety. The listening process with Soft Control will take a mere 36 minutes from start to finish. A mere 72 minutes if you listen twice back-to-back. Along the way, you’ll discover your own favorite songs without the influence or bias of others. After several listens, I found the songs highlighted in green below to be my favorites on this album.
The tracklist for Soft Control (song length)
- Jungle Roux (3:07)
- House of I (3:05)
- Duvateen (4:12)
- My Lover (2:37)
- The Deepest Part of the Darkest Shadow (4:19)
- Mariah Luster (3:31)
- Memphis, Texas (3:27)
- 77 (2:55)
- Loose Talk (3:25)
- A Simulation (6:10)
Total runtime: 36:48
Check out their website and their Linktree for more. For more music, check out their YouTube and Bandcamp; for more socials, check out their Instagram and Facebook; and for tour info, check out both their Bandsintown page and the poster below.
Thank you for reading and supporting good music.
Until next time,
Alex
Scummy Water Tower Productions co-founder, reviewer, business manager, and editor. Thank you for visiting this site, scummywatertower.com, and YouTube for Water Tower Sessions and SWT Interviews. And all of our socials.
Questions, feedback, or more? Contact me: alex@scummywatertower.com
