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 at Anything”’ 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 and Nowhere 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 “Feel right/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 Hole Understands” 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
