The Desperate Hours: Twin Singles By WOLFGANG WEBB Promise No Rest For The Wretched
Titling his debut album The Insomniacs’ Lullaby was the first clue that Wolfgang Webb wanted to take us on a trip through the long, dark nights of the soul. But just how long and how dark those nights can be doesn’t really hit home until you’ve heard two of its spotlight tracks, songs steeped in melancholia that only the anguish of personal experience can convey.
Take “Before You Sleep (The Pills),” which weds some truly harrowing imagery to an uncompromising dirge with the compellingly funereal quality of Leonard Cohen—and a mournful lead vocal that has more than a tad of Tom Waits-style grit.
If you wake up before me, will you hold me?
Will you show me?
And if I can’t wait until morning, will you tell me it’ll be alright?
Hold me, hold me, my friend
The pills stopped working again
The first song written for the album, “Before You Sleep” ended up setting the pace for the entire project, not just in terms of mood but also methodology.
“[All of the writing] was done in my bedroom between 2 and 6 in the morning,” Webb reveals. “I was in a manic-depressive, insomniac state where I wasn’t sleeping, and everything was very fluid. That’s just the way it was. It was really cathartic.”
Meanwhile, “Lonely Heart” has slightly more of a spring in its step rhythmically, but its lyrical sentiments won’t get it confused with a party anthem either. Acoustic-guitar chords fall dourly as Webb declares his longing for something better, with the chilling implication that the peace he’s searching for might not be on this side of the veil.
I got feelings deep
A soul that needs
Transparency all the time
I know a place where the soul won’t break
Do you know what I mean?
I know a place where it’s not all take
Do you know what I mean?
The subject matter might be bleak, but Webb’s overdue debut as a solo artist was delayed a couple of decades not because of depression or fatigue, but because he was simply too busy in his previous career as a sound designer and soundtrack composer for films and TV. Lucrative as that hustle may have been, though, it wasn’t always the best outlet for his own tastes and emotional needs.
The lyric sheet is fraught with references to heartbreak, depression, suicide, and the ghosts of sexual abuse, but at the same time, The Insomniacs’ Lullaby is not a wallow. It stares into the darkness with grace and poise and finds the transformative beauty in that darkness. Because that’s how you stop the darkness from getting the better of you.
Recorded everywhere from France to Los Angeles to Nashville Webb’s home base of Toronto, The Insomniacs’ Lullaby finds this emergent singing-songwriting talent backed by studio pros who are veterans of sessions with Johnny Cash, the Pretenders, Lucinda Williams, and others. The overall effect is as accomplished as you’d expect from that collective pedigree, and picturesque to a degree that fully befits Webb’s own CV. The songs on the album are so evocative and atmospheric, in fact, that you can easily envision them turning up in somebody else’s series or feature—perhaps as the music bed to a montage of desperate characters pacing worriedly through dimly lit rooms, with judicious jump cuts symbolizing their unraveling psyches. Maybe he could give pointers.
Whatever happens, Webb says he’s been so energized by the experience of making his own record that he now plans to release three albums in as many years. Somebody better put the coffee on, because it sounds like he’s in for a lot more all-nighters.
Care to introduce yourself?
Hey there! I’m Wolfgang Webb, a mix of Austrian and Canadian heritage based in Toronto.
Tell us about the process of recording “before you sleep (the pills)”?
Ever heard of a musical insomniac? Well, that’s me. I craft my tunes in the wee hours, between midnight and 5 am, fueled by restless creativity. My debut album, “The Insomniacs’ Lullaby,” is a testament to those late-night sessions, pieced together across the globe from France to Los Angeles, Nashville to Toronto. I’ve been lucky to collaborate with seasoned musicians who’ve lent their magic to legends like Johnny Cash, the Pretenders, and Lucinda Williams.
Who was the first and most recent Canadian artist to blow you away?
Canadian music has always held a special place in my heart. From the soul-stirring melodies of Mary Margaret O’Hara to the experimental sounds of Martin Tielli, Hawksley Workman’s eclectic vibe, and the ethereal tunes of Jane Siberry and Esthero – they all inspire me in different ways.
What’s an album that you have in your collection that would surprise people?
My record collection? Let’s just say it’s a treasure trove of eclectic gems, although my penchant for techno might surprise you. But don’t let that fool you; it’s not indicative of my writing style. I tend to like the darkness.
You’ve been making music for a bit of time now, what’s one piece of advice you can offer to those starting out?
If I could offer advice to fellow musicians, it would be this: break out of your comfort zone and dive into the unknown. That’s where the real magic happens. After all, music isn’t just for the few; it’s meant to be shared with the world. Let’s spread those vibes far and wide. And don’t overthink it. Follow your gut.
Connect with Wolfgang Webb:
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