The haunting, spellbinding moment a young Irish visionary stepped away from his blistering guitar amplifier, picked up a harmonica, and proved to a European television audience that a heavy blues-rock trio could carry the deep, melancholic soul of a traditional folk ballad. The legendary power trio Taste delivers an absolute masterclass in atmospheric roots precision and raw, emotional showmanship fully live on the set of the celebrated West German program Beat-Club. Broadcast by Radio Bremen on February 28th, 1970, for Episode 52, this extraordinary archival clip captures the band at their absolute creative peak, treating the studio to a beautifully unique, multi-instrumental performance of “If The Day Was Any Longer.”
This early 1970 television broadcast stands as a monumental showcase of musical versatility and telepathic group chemistry. Front and center, a young Rory Gallagher completely commands the room, swapping his ferocious electric fretwork to anchor the track with a soulful acoustic guitar foundation and an aching, gravelly vocal delivery. The performance reaches a deeply poignant climax when Rory steps into the spotlight to blow a crying, lonesome harmonica solo that cuts directly through the studio air. Behind him, the rhythm section drops into an elite, minimalist pocket—with Richard “Charlie” McCracken weaving warm, melodic bass lines around the progression while drummer John Wilson drives a crisp, beautifully restrained brush-led rhythm.
Originally released in January 1970 on their seminal sophomore masterpiece “On the Boards” the second and final studio album before their tragic disbandment following a historic, show-stopping set at the Isle of Wight Festival—the composition perfectly highlighted the band’s willingness to stretch past conventional 12-bar structures into progressive folk and jazz textures. Do you think the intimate, unpolished focus and live television sweat of this 1970 German Beat-Club appearance capture the true, multi-instrumental genius of Taste’s short-lived legacy even better than the tightly wrapped studio tracking they cut for the original LP?
One of the most anticipated debut albums in recent times. It’s simply stunning.
Dublin six-piece Madra Salach release their debut album “Gorta”, via Island Records. Named after the Irish word for “hunger”, “Gorta” is an album about inheritance: what we carry from the generations before us, what we leave behind, and the many forms that hunger can take.
The sleeve of the album, created by Oscar Torrans, holds all of that in a single figure: a Blemmyes, one of the akephaloi of ancient legend, the headless ones whose faces sat in their chests.
Madra Salach perform at Green Man Festival’s Round The Twist. There is a backdrop of patchwork material with triangles, suns and stars on some of the patches. Paul, the lead singer, stands in the middle of the stage wearing a checked khaki shirt buttoned up to the top with black baggy jeans. Maxime in a green t-shirt is on the mandolin and Jack Lawler in a long sleeve black shirt is on bass – they both sit on chairs to the left of Paul. Adam on guitar and Jack Martin on the mandolin both wear black t-shirt with a white graphics on the front, sit on chairs to the right of Paul. Dara at the back of the stage on drums wears a black shirt.
The album produced by Loren Humphrey in New York — whose recent credits include Geese and Cameron Winter — “Gorta” moves between moments of stark intimacy and full-band eruptions.
Hailing from Derby and drawing influence from the well of rock legends and blues greats, These Wicked Rivers have made quite an impact since their inception with their unique brand of blues-infused modern rock. With a reputation for soulful-bordering-on-spiritual live performances and timeless songcraft the band have built unstoppable momentum in recent years.
Established in 2014, These Wicked Rivers have emerged as one of the UK’s most compelling forces in the recent rock resurgence. Hailing from Derby and drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock. With a reputation for soulful-bordering-on-spiritual live performances and timeless songcraft the band have built unstoppable momentum in recent years. Sold-out shows across the UK, the Netherlands, France and Germany have cemented their reputation as a must-see act, bolstered by the critical acclaim of their second studio album “‘Force of Nature’ (#3 UK Rock Chart).
2026 is set to mark a landmark chapter for the quintet, with their hotly-anticipated third album “Fire and Folklore“. The record was recorded in the band’s hometown of Belper in Derbyshire, at Andy Sneap’s home studio. With the Grammy-winning Sneap (Judas Priest, Saxon, Megadeth) and Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) at the helm, it’s the band ‘s most accomplished record to date. Expanding beyond their signature wizard-blues rock sound, “Fire and Folklore” pushes into new sonic territory, blending in shades of country and Southern spirit while retaining the groove and soul that defines the band. The record also features a special guest appearance from fellow Derby artist, country starlet Kezia Gill.
We’re so immensely proud of this collection of rock and roll wizardry we’ve conjured up together. Each song reflects the power, spirit and love we have to share and we can’t wait for you to drop the needle down and join our revolution.”
Loved dearly by a rapidly growing “Family” of fans, and armed with a homegrown record with its sights set firmly on the global stage, These Wicked Rivers are poised to reach new heights. Jump on in and enjoy!
the forthcoming album ‘Fire and Folklore’ out on 2nd October via Fat Earth Records.
On their third album, “Fangs”, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera “The Worm”. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.
This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. “Fangs” also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.
The world crafted in “Fangs” is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to – and enjoyed – on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.
“Fangs” attempts to offer up a reflection to a culture that – like a Vampire – has lost its own. The result is something not only thoroughly modern, original, and inventive – but that feels genuinely dangerous and potent. “Fangs” delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.
The Guest List is a Greater Manchester alternative rock band known for ambitious, emotionally charged music, including their EP “When the Lights Are Out” (2025) and debut album “Something Real” (2026).The Guest List step forward with their highly anticipated first album. A raw and emotionally charged record that captures the voice of Gen Z. Built on sharp societal commentary and unfiltered storytelling, the band’s sound offers a fresh, distinctive take on the modern Mancunian lineage, and signals the arrival of a band set to leave a lasting mark.
“We want to steer away from being a Manchester band,” says The Guest List’s lead singer Cai Alty early on in our Play Next interview.
It’s a bold statement, given that city’s rich and endless musical lineage, but it’s easy to understand what he means when you listen to this Greater Manchester band’s latest EP, “When the Lights Are Out“. It’s a thrillingly ambitious statement of intent that takes in sludgy desert rock moments reminiscent of Humbug-era Arctic Monkeys and even heads into dream pop territory after they headed to Bergen to work with pioneering producer Matias Tellez.
With lofty themes such as male suicide and climate change tackled within this collection of songs, it’s an EP with incredibly big things to say too. Their name, it’s fair to say, is a reflection of where this group are heading. The guest list for, err, The Guest List, is about to grow at lightning speed.
It’s been a mad time, man. I’m excited for it to come out because there are songs we’ve written recently and ones we’ve held back for the right moment which are finally getting their moment. Songs like ‘Mary’ and ‘Weather Man’ and the title track have been on the back burner for a good two or three years. We’ve always really believed in them and believed that they could be, not necessarily big, but we wanted them to reach the right audience.
This unmissable four-disc bundle presents Van Morrison’s legendary live session at Pacific High Recording Studios, in San Francisco, on 5th September 1971. The set was recorded live in front of an intimate studio audience of 200 people. The first show was kind of a live version of the “Moondance” album. The second show was notable for having lots of cover versions and other rarities, such as acoustic versions. This show doesn’t really stand out in any particular way. It dates from less than a month from the second show (at the Lion’s Share in San Anselmo, California), so it’s not surprising that the song selection isn’t that different. However, the performance is excellent and the sound quality is too, so the show is a must-have because there are so few concert recordings this good from this early in his career. Also, at one hour and 35 minutes it’s a long show, 20 minutes longer than the Lion’s Share one.
It was recorded in Pacific High Studios, a recording studio in San Francisco, in front of a small audience. That studio was used by the Grateful Dead to record “Workingman’s Dead” in 1970, and Morrison used it around this time to record “St. Dominic’s Preview.” Local radio station KSAN used it to record live shows and play them over the radio, which is how this got bootlegged. So the sound quality is about as good as a live album from 1971 could possibly get.
Taking place shortly before the release of his fifth studio album, “Tupelo Honey”, this celebrated performance captures Van Morrison in fine form, as he delivers a set fuelled with unbridled passion. There are three great Van Morrison full concert recordings from 1970 to 1971,
In addition to the Pacific High set, this four-disc set also includes Van Morrison’s gig at the Fillmore West, on 26th April 1970.
Featured across four discs, are classic cuts such as “Into the Mystic”, “Tupelo Honey”, “Wild Night”, “Crazy Love”, “Brown Eyed Girl”, “And It Stoned Me”, “Caravan”, “Cyprus Avenue” and many more.
Band: Van Morrison – Guitar & vocals; John Platania – guitar; Alan Hand – keyboard; John Klingberg – bass; Dahaud Shaar – drums; Jack Schroer – saxophone; Collin Tilton – sax & flute; Keith Johnson – trumpet; Ellen Schroer, Janet Planet & Martha Velez – backing vocals.
Simon Fowler has a new book out, as well as an exclusive album of songs that he recorded before forming the band. “Finding My Voice” is the genesis of the story – you can hear in the tracks and read in the stories the way OCS would later unfold. Each copy is signed by Simon, and books are luxe versions, boxed, and with coffee table-design.
“Finding My Voice” is an intimate celebration of the life, music and remarkable career of Simon Fowler, best known as the distinctive lead singer and frontman of Ocean Colour Scene.
Through his own story, Simon reflects on the experiences, influences and defining moments that shaped his journey and his unmistakable voice. From his musical beginnings through to life as part of one of Britain’s best-loved bands, “Finding My Voice” offers fans a personal insight into the man behind the music.
This special edition is made even more collectible with a Simon Fowler signed bookplate, individually hand-signed by Simon, together with an exclusive coloured vinyl featuring a specially selected collection of recordings. The package also features a hand-written lyric sheet for “The Circle“, on Zeta Hammer Brilliant 350gsm paper, to be framed by owners.
The vinyl includes tracks such as A Hundred Words, Charlie Brown Says, Days Like Today, Don’t You Go Inside, and Justine, making it a perfect companion to the book. This edition has been created as a lasting celebration of Simon Fowler’s musical story and is an essential addition to Ocean Colour Scene fans.
Vinyl is only available free with the book and is not for resale.
The Nerves released one four-song EP on November 10th, 1976. They mounted a single tour, then went their separate ways. They could’ve been contenders had they stayed together long enough, but the Nerves, despite their brief existence, were one of the most exciting bands in power pop. Formed by Jack Lee, Peter Case, and Paul Collins in 1975, But their career was over by 1978, but they produced a great EP that featured the power pop classic “Hanging on the Telephone,” which was later recorded (and brilliantly so) by Blondie.
Ultimately, having three talented songwriters in one band hurried the demise of the Nerves, and all three principals found greater happiness and success with their new bands; although Jack Lee (arguably the most talented songwriter of the three) had the shortest career and eventually dropped out of sight after a fine solo record (Jack Lee’s Greatest Hits, Vol. 1) in 1981. Case went on to form the Plimsouls, who recorded two good records and a transcendent pop song, “A Million Miles Away.” After breaking up in 1984, Case recorded as a roots rock solo act for the rest of the decade and into the ’90s. Collins would later go on to form the Beat (also known as Paul Collins’ Beat).
So why are we still thinking about them nearly half a century later? Because of the remarkable economy and durability of their music: taut pop songs with punk energy—nervy, if you will—’60s melodic instincts, ringing guitars, and scarcely a note out of place.
Guitarist Jack Lee, bassist Peter Case, and drummer Paul Collins—all three sang—each brought a distinctive songwriting voice, and the band’s influence far exceeded its brief existence, most visibly when Blondie transformed Lee’s “Hangin’ on the Telephone” into a hit. The Nerves seized that fleeting moment when power pop, punk and new wave converged and made it sound timeless.
On October 23rd, Third Man Records will release The Best Collection, a 29-song set that brings the Nerves’ largely unheard history into the light.
“It was a very simple form of rock ’n roll,” remembers Case, who later formed the power pop the Plimsouls and then became a solo singer-songwriter with Americana leanings. “I guess people latched onto it because it was youthful, stripped-down and straight-ahead, simple songs in a way that nobody else was doing at that point—or really at any point, because it was so simple.
“Jack pushed us to strip everything down,” he continues. “That was what he really brought; his style, in which you could still have a lot of emotion and atmosphere in a song but keep it really stripped-down. Jack had the most songs and was very prolific during that period. He was very inspiring.”
Holy Motors’ new full-length “Heaven’s Night” is finally out today. “Heaven’s Night” has received coverage in FLOOD, Sound Bites, The Line of Best Fit, Treble, Brooklyn Vegan, The Fire Note, Mindies, and Stereogum, which described the centerpiece single “Hellishly Hot” as “enrapturing.” From pop experiments on songs like “Tough Crush” to all-out rippers like “The Last Ones,” “Heaven’s Night” throws a new spin on Holy Motors’ world that is a little less haunted and a little more dangerous.
Holy Motors’ third studio album, “Heaven’s Night”, pairs the band’s signature Western dreamscapes with pop hooks and new-wave textures that mark new territory for the Estonian band. Notably, there is a new sweetness to the collection of songs on “Heaven’s Night”, which features characters who step away from the doomed sunsets and outback melancholy of 2020’s “Horse”. As the band puts it, their new sound is “sweet as dripping honey, sad like summer rain.”
The band will be announcing plans to support “Heaven’s Night” soon, so keep your eyes peeled.
Cloud Nothings the American indie rock band from Cleveland, Ohio, founded by singer-songwriter Dylan Baldi. It currently consists of the lead singer and guitarist Dylan Baldi, drummer Jayson Gerycz, and bassist Chris Brown.
The band originally started in 2009 as a solo project, with Baldi recording both vocals and instrumentals in his parents’ basement, although he performed live with a full band. The band was signed to Washington, D.C.–based Carpark Records.
“Cloud Nothings” is “a fun, frenetic and crisp debut that is more resplendent than his lo-fi scuzz.” Under the Radar’s wrote “Baldi’s songs somehow manage to mix punk rock energy with pure pop tunefulness”. A hallmark of the band’s sound is its strong sense of melody and hooks. The band’s melodies are augmented by “layers of fuzz and propulsion”. Lyrical themes in the band usually include self-deprecation, adolecence, and regret. These are songs about growing up, hating life, and repeating the same mistakes. Isn’t that what pop punk is really about anyway?
Baldi had been so prolific in such a short time, cranking out several EPs and an album’s worth of music within a couple of years, that it’s easy to forget that this is his official debut album. These tracks are more polished than what came before, but only to a point; unlike some lo-fi bands who graduated to unrecognizably slick full-fledged albums, Baldi cleans up Cloud Nothings’ act only enough to get his songs across more clearly. There’s still an old-school, lo-fi vibe to Baldi’s music.
Like Male Bonding and Best Coast, Cloud Nothings excel at noisy rock that cloaks deceptively innocent, heartfelt melodies. Baldi is young enough to get away with lyrics as simple as “I don’t understand love/And I don’t understand at all,” while punk putdowns like “Not Important” still cast him as an outsider, even if he’s no longer in high school. Though the half-baked experiments that filled out Baldi’s EPs are missing this time around, quickies such as “Heartbeat” and “Rock” show that he still has room for off-the-cuff outbursts.
Baldi still goes in lots of different directions, from the pure power pop of “All the Time” to “You’re Not That Good atAnything”’ snarling garage punk to the surprisingly sweet and optimistic “Should Have.” Meanwhile, songs like “On the Radio” and “Nothing’s Wrong” serve up bouncy punk-pop without the machismo that style developed in the ‘90s and 2000s.
However, Baldi’s best songs have a thoughtful undercurrent that separate him from the noise pop pack, whether it’s “Forget You All the Time” heartbreak detritus, or “Been Through” empathy. The way he blazes through so many songs in such a short space is a little overwhelming
Two years later, after the success of their hook-heavy eponymous debut album, Cloud Nothings has released their Steve Albini produced being their breakthrough album “Attack on Memory“, released on Carpark in 2012. The band’s third album, Recorded with famed producer/engineer Steve Albini at Electrical Audio known for his awe-inspiring resume of being involved with nearly every great alternative album of the last 20 years. But there is a whole lot more at work over these 33 minutes that isn’t characterized by Albini’s signature sonic touch.
It was the first outing to feature the live line-up and the first album in 2012 to receive “Best New Music” status on Pitchfork. The grippingly explosive first track “No Future/No Past” starts the attack on the offensive. With a thesis of “Give up/Come to/No hope/We’re through” (the only lyrics of the song, save a chant of the title), “No Future/No Past” plays like a fight song for the negative voices in your head.
If you thought track one was heavy, just wait for “Wasted Days.” Clocking in at almost nine minutes and featuring a four-minute, boiling jam that would make King Crimson and The Wipers quite proud, “Wasted Days” is an early contender for song of the year. At this point in the record, you begin to notice the immense power and weight the new rhythm section adds to Baldi’s personal soothsaying. “I thought I would be more than this,” Baldi screams. Dude, how can you ask for more?
A shift of gears without losing any momentum showcases the versatility of Baldi’s songwriting. Killer, hooky pop gems like “Fall In” and “Stay Useless” use a bit more of the major scale, sure, but it’s important to note that the rhythm section still sounds as huge as it did on the earlier tracks, which is likely a combination of fantastic musicianship and Albini’s recording techniques.
It was ranked No. 22 on their Album of the Year list for 2012 by Rolling Stone’s selected Cloud Nothings as the “Band to Watch”. The band toured Europe, performed at the Fuji Rock Festival (Japan), Pitchfork Festival and made their debut television appearance on the Jimmy Fallon Show performing the single “Stay Useless”.
Their fourth album, “Here and Nowhere Else” was recorded with producer John Congleton was released in April 2014. A 10th anniversary edition of “Here and Nowhere Else” was released which included extra live tracks
“Here and Nowhere Else” is a heads-down set of songs. From its rolling beat to Baldi’s more relaxed vocals, “Now Hear In” sets the easier, more natural tone for the rest of the album. A few bravado moments remain, most notably “Pattern Walks,” which could be a kissing cousin to “Attack on Memory” with its seven-minute length, tangled guitars, and ecstatic keyboards. Still, the band spends more time crafting the kind of hooky yet angry insights that have made their best songs special since the beginning; the sweet harmonies carry just as much weight as the heavy guitar, drums, and bass on songs like “Quieter Today,” which could be the album’s manifesto.
John Congleton’s hissy production borders on lo-fi, which is used too often as a signifier for deeply felt emotions. It actually works here, forcing listeners to crank up the volume and lean in to Baldi’s screams. “Here and Nowhere Else” offers ample proof that Cloud Nothings aren’t too mature and considered to really let it rip on “Just See Fear” and “Giving Into Seeing,” both of which build to truly chaotic fury topped by Baldi’s raw-throated howling (however, drummer Jayson Gerycz is the band’s true MVP, driving the album’s dramatic dynamic shifts with ease). “Here andNowhere Else” closes with “I’m Not Part of Me,” which sings the praises of bridging those gulfs instead of burning bridges. It’s a hopeful, if not exactly happy, ending to an album about being in it for the long haul.
Cloud Nothings’ album their fifth album, “Life Without Sound” was released on January 2017. With the announcement came the release of the album’s first single, “Modern Act,” .Upon its release Uncut rates it 8/10 and praises it as “thrilling… Baldi successfully develops his own take on the merger of power pop and hardcore brawn…without sacrificing any of his irrepressible energy, or his enviable knack for hooks”.
On this album, Baldi and company sand off some of the rough edges that defined “Attack on Memory” and “Here and Nowhere Else“, and more often than not, it adds nuance to the tug of war between defiance and acceptance that drives their music. However, smoother sounds don’t always mean a smoother outlook, and “Life Without Sound” finds Baldi soundtracking his quarter-life crisis with songs that try to reconcile past with present, youth with growth, and grit with polish.
“Up to the Surface” begins the album with piano, an instrument that is often overused by rock bands to convey thoughtful maturity, but coupled with the track’s heavy drums and Baldi’s gravelly baritone when he sings “I knew peace in the terror of the mind,” Cloud Nothings actually do sound thoughtful and mature as they contemplate the moment when abandonment turns into letting go. Helping the band achieve this perspective is producer John Goodmanson, whose work with Death Cab for Cutie feels like a major influence.
“Modern Act,” the album’s glossiest moment, the chiming melodies that steered Baldi through his crises since “Turning On” also take the lead on “Internal World” and “Things Are Right with You,” where the chorus “Feelright/feel lighter” feels like a mantra. Cloud Nothings don’t forsake fiery outbursts entirely; “Darkened Rings” could have appeared on “Here and Nowhere Else“.
Still, songs like the darkly cathartic finale “Realize My Fate” and “Strange Year,” a tangle of recrimination and regret that boasts the album’s most throat-shredding vocals, aren’t quite as raw as they could have been, emphasizing how the band’s focus has shifted. By letting go of a little of their rage, Cloud Nothings let more light and shadow into “Life Without Sound” with promising results.
If “Attack on Memory” and “Here and Nowhere Else” built on ’90s grunge, then “Life Without Sound” could be seen as carrying on the tradition of neatened-up early-2000s indie,
This was followed by “Last Building Burning”, released on October 2018, A new song/video, “The Echo of the World,” Following its release Under the Radar rated the album 8/10, stating “…Cloud Nothings have never been better.” saying “Baldi and his conspirators have created something fantastic here – easily matching the scope and ambition of artists across the musical spectrum. They always seemed to be on the cusp of greatness, and “Last Building Burning” is their first step over that threshold. The album singled out the track “Leave Him Now” as Cloud Nothings at their best: direct, visceral, vulnerable. It hits in the gut and rings in the head, striking that golden ratio of ferocity and tunefulness that this band does best
“Last Burning Building” resembles an especially well-recorded live album in how well it captures the band’s dynamics. After a decade of screaming his lungs out, Dylan Baldi’s voice is a well-earned, well-worn rasp that Dunn doesn’t shy away from on pop-inclined songs like “Leave Him Now” and “Another Way of Life” or moodier tracks such as “In Shame” and “Offer an End.” It’s a sound that’s just as vital to Cloud Nothings‘ music as in-the-red guitars and frantic drumming, both of which are on full display starting with the blazing opener “On an Edge,” which is the closest they’ve come to matching the intensity of their hardcore influences.
Producer Dunn brings to the band’s sound is perfect for “The Echo of the World,” where climactic riffs elevate the song to towering proportions, while their mix of distortion and soul-searching has rarely sounded as effortless as it does on “So Right So Clean.” Likewise, “Last Burning Building’s” extra muscle helps the ten-minute centerpiece “Dissolution” keep listeners riveted from start to finish. Five albums in, Cloud Nothings version of maturing is to go harder and louder than ever — and they sound all the better for it.
The Bandcamp exclusive “The Black HoleUnderstands” on July 2020, and “The Shadow I Remember” on February 2021 about a month into quarantine, Dylan Baldi and Jayson Gerycz started sending files back and forth, with guitars, bass and vocals recorded in Philadelphia, “Despite being recorded in an era of unthinkable instability, it is the most assuredly melodic Cloud Nothings has sounded in years” and “Backed by gleaming harmonies, Cloud Nothings make the dulled ennui of everyday life sound like an escapist fantasy”.
During the COVID-19 global pandemic, Cloud Nothings went back to basics in ways that brought out the best in their music. Since shows were off the table and their recording sessions were constrained by social distancing and file sharing, 2020’s “The Black Hole Understands” and 2021’s “The Shadow I Remember” concentrated on the thoughtful lyrics and hooky tunes at the heart of the band’s music, and quickly became standouts within their body of work.
The band announced a new studio album in October 2020, “The Shadow I Remember”. The announcement was accompanied by a new single, “Am I Something.” again was produced by Steve Albini.
“The Shadow I Remember” sees Cloud Nothings reunite with celebrated producer Steve Albini of Electrical Audio almost a decade after they had previously collaborated on their album “Attack on Memory”. What resulted is a record that’s heartening, human, and sonically explosive, Raw and uncompromising, yet always harbouring a degree of melody, it’s the product of ten years of learning, and succeeds in deftly balancing subtle nuance with a sense of uncompromising aggression”
“The Shadow I Remember’s” compact, hooky outbursts are just as potent as the slow-burning epics on Cloud Nothings’ other albums. They’re so seasoned that they can shift from bouncy to crushing and back again in a blink on “The Spirit Of,” or whip through a dramatic buildup, blistering choruses, and a radiant coda in 90 seconds on “It’s Love.” Cloud Nothings are as searching as ever on “The Shadow I Remember”, and Baldi continues to ask the essential questions that he’s confronted bravely at every stage of his career. “Am I older now/Or just another age?,” he wonders on “Oslo,” although his yelp is evergreen; on “Am I Something,” his existential angst is even deeper when he howls “Does anybody living out there really need me?”
“The Shadow I Remember” is the quintessential Cloud Nothings album” and “perfectly encapsulates everything the band do so well, and hints at what might be to come from this great band.
“Final Summer” The band’s ninth album and first on Pure Noise Records was released on April 2024. “Final Summer’ is a masterclass in Indie Rock”. Pitchfork awarded the album a 7.5 and exclaimed “With spruced-up production highlighting new subtleties in their sound, yet never abandoning their melodic fundamentals, the Cleveland indie rockers’ latest radiates a renewed sense of purpose.” adding Cloud Nothings have never sounded so committed to going the distance.
Cloud Nothings is a band that has consistently delivered energetic and melodic indie rock. Their latest album, “Final Summer,” continues this trend and offers a refreshing blend of rock elements. Here are some key points about the album…Cloud Nothings’ musical style is characterized by hooky rock songs that blend inventiveness with accessibility. Their sound features energetic guitar riffs, driving beats, and layers of interlocking melodies. Over the years, Cloud Nothings have refined their sound while staying true to their rock roots. From their lo-fi beginnings, they’ve evolved into a tight unit with a knack for crafting dynamic and engaging indie rock compositions.
The regret Dylan Baldi conjures when he sings “I was on the edge of another life” over a half-swaggering, half-staggering rhythm on “Daggers of Light” feels bottomless. While “Final Summer” has its fair share of eloquent heartache, Baldi and company spend more time seeking out peace and contentment in a world that isn’t inclined to either of those things. In their hands, self-care is punk rock, whether it’s achieved by ending toxic relationships on the revved-up “Thank Me for Playing,” going for a head-clearing jog on “Running Through Campus,” or becoming shatterproof on the gloriously crunchy anthem-in-the-making “I’d Get Along” Cloud Nothings bolster this resilient mood with “Final Summer’s” sound, which is both heavier and smoother than their pandemic-era output.
The title track, “Final Summer,” sets the tone with atmospheric synths before erupting into energetic guitar riffs and driving beats. It encapsulates themes of seizing the moment and finding solace amidst life’s challenges. “I’d Get Along” is another standout track, featuring Dylan Baldi’s signature repetition and unique delivery. The explosive chorus delivers a cathartic release.
The band’s energy level never slackens throughout “Final Summer”, and the entirety of the record’s half-hour run time sounds massive, even at its most deceptively simple. But in moments like ‘I’d Get Along,’ a towering anthem in which Baldi wrings every last ounce of power from only two lines, Cloud Nothings reveal how much artistic growth they’ve undergone.
“The Golden Halo” packs a punch with relentless energy and infectious hooks, drawing listeners into its euphoric sonic landscape. Dylan Baldi’s lyrics possess a mantra-like quality, often exploring themes of perseverance and self-improvement. His delivery, characterized by repetition and unique phrasing, adds depth to the album’s overarching lyrical ideas. Overall, “Final Summer” is another high point in Cloud Nothings’ consistent output. It’s a joyous celebration of playing loud guitars and drums, and it’s clear that the band remains committed to their craft.
“Final Summer” is another strong album from a remarkably consistent band, but it’s the wisdom, maturity, and joy Cloud Nothings bring to it makes it an especially satisfying listen.
What Kind of Hell Did You Survive?
For more than 15 years, Cloud Nothings have remained one of the most vital and consistently evolving bands in modern guitar music, earning acclaim for their raw energy, sharp songwriting and explosive live shows while performing around the world at festivals including Coachella, Primavera Sound, Bonnaroo and Pitchfork Music Festival.
On “What Kind of Hell Did You Survive?”, the band pushes into heavier territory, deliberately stepping outside the indie-rock lane to make what they describe as their “heaviest, most intense record yet.” Recorded with Seth Manchester (Lightning Bolt, The Body, Battles), the album draws from the heavy rock the band has immersed itself in over the last several years, with influences including Queens of the Stone Age, Motörhead, Earth and Electric Wizard. Inspired lyrically by political metal and hardcore, the songs confront cruel governments, the importance of community and a broader frustration with the state of the world. “What Kind of Hell Did You Survive?” marks a new chapter for Cloud Nothings, expanding the urgency and energy that have defined the band while revealing a heavier, more confrontational side of their sound.
There is also a huge collection of live recordings on their Bandcamp website bootleg series
