Out of the Blue: Dew Claw Return with New Album

Dew Claw is back and ready to release their highly anticipated new album, E.L.F., on May 9 via Dromedary Records. 

For over 20 years, Stephen Hunking (Grand Union, Hynolovewheel, XL Kings) has been creating music as Dew Claw, releasing four albums and several EPs and singles under the name, largely as a solo project. He would eventually be joined by longtime friend and collaborator Chris Xefos (King Missle, MX-80 Sound, Rattletrap), a respected producer and engineer in his own right who has worked with the likes of Camper Van Beethoven’s Victor Krummenacher, Jonathan Segel and Greg Lisher on various projects in the past.

For Dew Claw’s upcoming album, E.L.F., the duo sought inspiration in the period when The Move turned into Electric Light Orchestra, a time when psychedelic rock whimsy gave way to pure pop maximalism in the wake of The Beatles’ breakup and the vacuum it created in the music universe. The album’s 10 tracks blend personal recordings with full-band arrangements, augmented by an impressive roster of collaborators that include Arne Kjelsrud Mathisen (Rural Tapes), Frode Strømstad, Dave Rick (King Missile), Kurt Bloch (Fastbacks), Gary Olson (Ladybug Transistor) and Alison Faith Levy (Loud Family). 

E.L.F.’s blend of orchestral arrangements and blistering power pop is a revelation, one that finds the partnership between Hunking and Xefos yielding arguably the best work under the Dew Claw handle to date.

Rock & Roll Globe is honored to premiere the latest single from the upcoming album, its uplifting opening number “Escape Velocity” today on the site, as Hunking and Xefos humored the handful of questions we sent them via email about E.L.F., ELO and their long history together.

E.L.F. can be pre-ordered here.

 

How did the concept of E.L.F. come together?

SH: Chris produced some of the songs and also mastered the previous Dew Claw album, Horripliation. We had such a good time that we thought we should work on a whole album together, from the ground up. I was a bit obsessed with ELO at the time which grew out of my love of the pre ELO band The Move, which I absolutely love. I shared this with Chris and we both decided it would be fun to be influenced by that vibe.

 

 

I’d love to hear more about the new single, “Escape Velocity.” What is the story behind it?

SH: Escape Velocity is in some ways the most heavily influenced ELO song on the LP, though it’s fair to say some might not see the musical connection. Our version of an ELO song might be a little bit more obscure to others than to ourselves. I wanted to write something that felt uplifting and kinda had that ELO vibe. The lyrics are really a reminder to myself to enjoy the experience you’re in, no matter where it takes you, including when things get dodgy, where it’s all about rising above it.

 

The video for “Escape Velocity” is based on the concept of validation. How important is validation to you? 

SH: I used to worry a lot about validation without realizing I was even doing it. I do know I operate at my best when there’s positive constructive criticism. I’ve been challenged by some trying to negatively push me to whatever the task is, but I kinda get put off by that tactic. I guess being older I kinda care little less about others validating me and just validation in general. It is odd to live in a time where everyone is looking for hearts on their phones. It’s easy to get addicted to that constant stimulation. I’m no different but I do remember a time before it so I guess that’s an advantage?

 

Tell me about signing to Dromedary and your relationship with Al.

CX: Al (Crisafulli, Dromedary honcho) and I have been connected on Instagram for a few years now. From his posts there, I had noticed that he was a Hypnolovewheel fan and a King Missile fan, beyond being a fan of indie music in general. Al and I had messaged each other over the years, so when Stephen and I were about half way done with the record, I sent Al what we were up to. Al liked what he had heard, so when Stephen and I were finished, we did what we could to convince Al to put it out. Al is a great guy, a very positive yet realistic and forthright/standup dude. It’s such a great feeling to be able to work with someone like that.

SH: I couldn’t be happier with Dromedary putting out the record. I’m excited in a way I wasn’t expecting. If it was left to me it would have been another willfully obscure Dew Claw release. My heroes all tend towards working with little reward or recognition and that suits me fine because doing is what I enjoy most. Though I have to admit, it’s fun reaching a wider audience and kinda sweet to be getting a little love this time around.

 

The cover art for E.L.F. is wild! Where did you find that flower pot? What’s the meaning behind this flower headed fellow?

SH: I’m so glad you feel that way about the cover. My partner Annie and I have a flower farm called Mooncake Flower Farm in Camas, WA and that ELF is our mascot. We bring it wherever we sell flowers. It’s kinda become a weird way of giving our customers a heads up. The people who love it tend to be really into us and what we are growing. The people who don’t, maybe not as much? At least that’s our theory.  I also thought it would be a great album cover because it’s pretty iconic and dramatic and creepy but sweet. I feel like it kinda fits with the semi-autobiographical nature of some of the songs in a way I’m still processing.  You can get these kinda things on Etsy. Search for “elf head cookie jar.” I’ve had this one for decades. The top broke so it became a vase. 

You both recruited an amazing assortment of guests on this new record. How did you get everyone together?

SH: I love that aspect of technology that it’s easy to bring people together from all over the world. It was crazy organizing all this but everyone who joined was also up for the challenge and pretty great at meeting it. Chris also did a wonderful job making this all seamless. It is crazy that we have Frode Strømstad from I Was a King, Arne Kjelsrud Mathisen of Rural Tapes Kurt Bloch of the Fastbacks,  Gary Olson of The Ladybug Transistor, Dave Rick of Phantom Tollbooth, Allison Levy of The Loud Family and Dave Ramirez of Hypnolovewheel!  I’m dizzy just listing that. We are lucky! All these people are truly the best of the best. So grateful to everyone for being willing to participate.

CX: 20+ years ago, I was involved with a music project called moth wranglers. It was a concept much like Golden Palominos, where we would write the songs/arrangements, and utilize our “rolodex” to fill out the instrumental performances as needed. Since it was a workflow I was familiar with, I convinced Stephen to go with it and the results have been beyond our expectations!

 

You guys have both been making music for nearly 40 years now. How different is it to release a new album in 2025 versus 1989 or 1994? How is it similar?

SH: Well it’s cheaper to record now. You can get great sounds at home if you know what you’re doing. Again, Chris Xefos is really top notch with these kinda things. The record would not be what it is without his contribution. He’s truly an awesome musical partner. It’s also great to be in a band with him again. It’s like we never stopped. We are fanboys first and musicians second and that’s what a lot of my favorite bands have in common. So we always have a lot to talk about regarding music. As far as promoting, the socials are weird but I also kinda lean into the oddness and cheesiness of it. I’m full on emoji and gig crazy. I just get into the mode of “world’s oldest teenager” and get stupid with it. I’m sure a lot of people are probably like “what’s all this dancing Snoopy stuff?” but it’s not like I’m using Garfield (insert smiley emoji here). As far as recording in a studio I do miss having everyone in the same room, the social connection is harder to share because it’s kinda hard to replicate in a text or email. So there’s that. ON the other hand I don’t miss the pressure to record under the studio clock.

 

What will touring look like for Dew Claw? Is there a live band intact to bring this amazing music to life?

SH: So we have a lot of musician connections throughout the US. It’s kind of like having multiple road touring companies. We come into town, get together with some friends, rehearse and play.  We have friends helping out on the east coast, the west coast and the midwest. So far, we are good for New England area and San Francisco. Currently rehearsing with rock and roll friends for some Pacific Northwest shows this summer. Fall and winter are a bit easier to travel because the farm takes up a lot of time in the spring and summer. Any thoughts on bands we should tour with?

 

 

I read that ELO is a big influence on this album. How did you guys get into ELO and what is it about them that inspires you?

SH: YES! This is true. I’ve been a big fan of The Move (kinda like the pre ELO almost) for years. They are probably one of my favorite bands ever. In 2023, I started going through the ELO catalogue again. I was building a cooler room for the flowers in the garage. I’d be in this 8’ x 8’ box playing these records over and over again for weeks and hours on end. It drove my wife a little crazy when I brought this obsession into the house. In respect to her, I tried to keep it in the cooler or my headphones. I’m an obsessive. I would just listen for pleasure then listen to understand the construction of the songs, then listen to hear his vocals then listen to hear the strings. I’m a slow learner with these types and there’s an argument to be made that I learned nothing but I’m willing to go the distance. I’m also inspired by ELO because Roy Wood and Jeff Lynne had a ridiculous idea that maybe wasn’t so cool, which in turn makes it incredibly cool to me. I guess that’s how my brain is wired. Anything sold to me as cool I’m usually turned off too. It’s kinda knee jerk, I know. I have an affinity for the opposite I guess. Also, Jeff Lynne created a million killer hooks and seems like a pretty humble dude, too. When I listen to ELO, I genuinely feel joy. There’s a lot of bands I love but they do not have that effect on me. I think a lot of these ELO records are pretty remarkable and inventive but most of all up-lifting even when they are sad. A fantastic accomplishment and kind of magic trick to me.

CX: ELO records were some of the first ones I ever bought as a pre-teen. There are very few bands that are indelibly imprinted on my musical psyche, and they are definitely one of them. Also, I played in a cover band called ShELO. Our first show was recently uploaded to YouTube so look for it on there.

 

What young bands are you digging these days?

SH: They ain’t so young but I love thee OH Sees’ Intercepted Message from a few years back. Also dig pretty much anything by The Bug Club. I love that Descartes Kant song, “After Destruction.” Also gotta give a shout out to my son’s band Rat Sweat, kinda like if Devo and Nine Inch Nails melted together in an inferno.

CX: I kinda like Fashion Club though much more into their predecessor, Moaning. Moaning’s two records are some of the best ones of the last 5+ years. If new also means 15+ years, then Beauty Pill and A Place To Bury Strangers along with The Life and Times. Of course, The Special Pillow, led by our old pal Dan Cuddy, always manages to put out awesome records, too.

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VIDEO: Dew Claw “Escape Velocity”