Cut Worms presale codes

Cut Worms is the project of songwriter Max Clarke, blending 60s pop craft with modern indie warmth.

From quiet craftsman to tighter band

After the 2020 record Nobody Lives Here Anymore and a long stretch off the road, the 2023 self-titled Cut Worms sharpened the full-band focus. Expect bright 12-string strums, tight harmonies, and a sway that sits between country shuffle and Brill Building snap.

What you might hear and who shows up

A likely set could include Don't Want to Say Good-bye, Unnatural Disaster, and Ballad of the Texas King. Crowds tend to be mixed ages, with record-store types, young songwriters, and casual rock fans sharing space and singing the single-line hooks softly. The name comes from William Blake's proverb 'The cut worm forgives the plow,' and Clarke often illustrates his own cover art and posters. He also starts a lot of ideas at home on simple tape drafts before building them with a band in the studio. Note: the song picks and onstage setup mentioned here are educated guesses and could shift night to night.

Quiet Glow, Big Chorus

The scene skews thoughtful and low-key, with corduroy jackets, well-worn denim, and vintage sneakers more common than flash.

A gentle singalong culture

You will spot tote bags from indie record shops and a few 35mm cameras, plus risograph posters tucked into sleeves by the end. During big refrains, the room leans into soft ooohs rather than shouts, and the band leaves space for that to carry.

Vintage touches without cosplay

Fans trade notes about pressings and guitar tones at the bar, then fall quiet when the verses start. Merch favors hand-drawn art, simple tees, and sometimes a cassette or a zine, a nod to the DIY roots. The vibe looks back to 60s AM radio and early 70s singer-pop, but the crowd treats it as a living thing, not a costume party. After the last chord, conversations tend to be about melodies and lines that linger, not who stood where.

Shimmer, Snap, and Songcraft

Clarke sings in a warm mid-range with easy falsetto lifts, and he often double-tracks choruses to thicken the shine.

Hooks first, then color

The band keeps arrangements lean: 12-string or Tele up front, a melodic bass that walks between lines, and drums that use brushes on ballads and light sticks on the quicker tunes. Keys add organ or piano colors that glue the guitars without crowding the vocal.

Small choices, big feel

Tempos sit just a click under studio speed so the harmonies lock, which makes the hooks feel larger when the band opens up at the end. A small but telling habit is stretching the outro of Don't Want to Say Good-bye into a two-chord coda where the drummer rides the bell and the organ swells. On some nights they trim the bridge of Unnatural Disaster to a tighter eight bars, shifting focus to the verse story. Lighting tends to be warm amber with gentle backlight, matching the music-first mood without stealing attention.

Kindred Spirits in the Jangle

If you like Kevin Morby, you will hear the same roomy songwriting and an unfussy band feel.

Map of nearby sounds

The Lemon Twigs connect on the love of 60s hooks and stacked harmonies, though they push the drama harder. Allah-Las share the sun-baked guitar chime and mid-tempo sway that favors melody over volume. Fans of Andy Shauf also cross over because both acts prize clear stories, soft vocals, and small dynamic shifts.

Overlapping ears, shared patience

Together these artists draw crowds who listen closely, nod in time, and cheer the arrangement choices as much as the choruses.