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"His astute observations are couched in a galloping rock-framework that borders on classic punk, but the keening full-chord slide work is pure blues." Blues Revue
“Playing slide on a Sears and Roebuck Silvertone guitar while spinning tales of voodoo, politics gone wrong, the devil's den, fast food killing the populace, and bad women and whiskey, King Clarentz is a totally modern-thinking, cutting-edge bluesman who produces a sound that is positively crude and archaic. In 1998, Brewer cut his debut album, released the following year on HMG and produced by Lou Whitney of the Skeletons and featuring the Skeletons as a backing band. More than just a good-time performer with a backwoods style, Clarence Brewer is a modern artist with much to say and a beautifully raucous way of saying it.”
Cub Koda, Allmusic.com
King Clarentz (Clarence Brewer) has returned in full force from a nine-year recording hiatus. The brand-new material on
Day of the Supermodel remains true to the Delta blues style that put him on the map in 1999 with his debut,
King Clarentz while branching out into rawer, grungier terrain. His unique punk twist on the traditional genre appeals to rock fans and blues purists, both young and old. His style is John Lee Hooker meets Screamin' Jay Hawkins meets the White Stripes meets the Black Keys. That’s one hypnotic, infectious groove.
Day of the Supermodel captures King Clarentz in his truest form–-raw, forceful, and topical-–accompanied by drummer and longtime friend Bobby Lloyd Hicks, who has worked with everyone from Dave Alvin to Jonathan Richman. Fans of King Clarentz’s last album will be happy to know that he has a “New GOP” to share this election year. Other reflections on the new album include his takes on Alex Jones, Martha Stewart, hurricane parties, sex, supermodels, and, of course, death, ghosts and trains.
King Clarentz has spent years honing his craft in the Ozark Mountains with brief stints in the San Francisco Bay Area. He is known throughout the Ozarks as a musician, metal sculptor and painter (a print of one of his torch-cut metal works served as the cover art for his debut album). During one of his trips to the Bay Area, he landed the role of Bernard in Sun Ra’s 1970s cult classic,
Space Is the Place; another found him chauffeuring Nina Simone through the Santa Cruz Mountains. In 2000, he was invited to the prestigious Blues Estafette in the Netherlands, where he was featured not only as a performer but also as a visual artist, with prints of his metal carvings on display during the festival. This is the King’s life. Those who know him love him, and you’re next.
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