Founder Dylan Baldi went from the most humble of origins forming several ‘fake’ bands as a solo project in his parents basement and moved onto an indie rock quartet featured at Coachella in the space of 5 short years. How does the latest release, Life Without Sound, actually sound?
It might seem somewhat odd, that a band possibly best known for their lo-fi emo-punk sound is featuring on a hi-fi website, but stay with me. With each album that Cloud Nothings have released, they have shed the former album like a cocoon and the sound that has re-emerged has been the result of a period of metamorphosis. Band founder and lead singer, Dylan Baldi has been perpetually busy since he first started his constant creation of multiple songs in multiple genres. Previously uploading the songs under multiple ‘fake’ band accounts on Myspace for his own enjoyment and self-improvement he was quickly discovered and then rapidly realised, he’d need an actual band to play live. He proceeded to drop out of his studies and took up with the band name that got him discovered; Cloud Nothings.
As soon as Life Without Sound turns on, it turns up. The opening track, Up To The Surface, leads with an almost discordant, minor key piano closely followed with a crescendo of distorted, punkish guitar and a rapid drum roll before it explodes into a driving, power chord driven melody. Aggressive and emotional lyrics are somewhat overpowered by the rawness of the song, which given that they do get a little lost within the music, is a shame, but overall, a powerful entry into the album.
Not content to slow the pace as the album goes on, the notably better-produced Things Are Right With You follows hot on the first tracks heels. The vocals are immediately clearer, which is a blessing when Baldi’s vocals are accompanied by bassist TJ Dukes’ own backing harmonies. The two work well together blending a mix of canon vocals and alternative lyrics that manage to stay separate, distinct and overall well done. The punkish, overdriven guitar is here to stay as well as some fairly demanding, complex rhythm and fills from the understated drummer Jayson Gerycz.
The album remains fast, frenetic and honestly, very enjoyable throughout, tracks such as Darkened Rings and Sight Unseen show us Baldi channeling his inner Julian Casablancas, with deep, rasping and throaty vocals typical of The Strokes frontman whilst the band work alongside him with the passion and energy of a band still practicing furiously in a garage, and they sound great for it.
The lead single of the track, Modern Act has been produced separately from the rest of the album (by Wichita, instead of Carpark Records) and the difference is surprisingly obvious. The song itself may be slightly softer than the rest of the album with cleaner vocals and less fuzz on the guitar and bass, but it is no worse off for it. Without the distortion present in most of the album the song feels a little closer to the pop spectrum and with simpler guitar, it is catchier. I found myself listening to it several more times over without a note of fatigue only stopping when I tired of air-guitaring and singing along, I feel I won’t be alone in these actions either.
The album even manages to slow itself to a natural lull at the end. Closing track Realize My Fate keeps the speed down as the song carries on, keeping the grungy, growling feel as well as the energy, but it is contained, less frantic. Considering the huge changes each album has shown that this talented young band is capable of, as this final track carries the album, it leaves you wondering where the next album will lead.
To do this album the justice it deserves, why not come down to your local demo room and really turn up the volume on this piece of indie-rock excellence?
Author: Steve, Southgate store
