ARCADE FIRE

HOME GROWN CORNISH SPOTLIGHT

WORDS: KIERAN WEBBER

Sweet Juno

These sweet souls are fairly new to the Cornish scene but they’re quickly becoming a staple among the live circuit. Their blend of indie, classic rock, and even pop-punk creates an all-encompassing sound that is daringly infectious. Whatsmore is their stage presence is totally endearing, as the gentleness of their characters come through. It’s truly hard not to fall into the warm embrace of Sweet Juno. If you see them playing anywhere near you, be sure to check them out!

Maisy Grace

Another newcomer in the Cornish music scene but one taking it by storm. Her atmospheric, dreamy and warm soundscape is something to be adored. This is matched by her deeply raw and honest songwriting that draped in emotive delivery. Maisy’s music is a true sonic adventure that is constantly evolving and developing, making her an exciting artist. You can catch Maisy at Boardmasters this year, be sure to search her out.

MOPES

Where do we even start with MOPES, fronted by the musical wizard Connor Powell, who is one of the most recognisable faces in the local scene. If Connor isn’t playing a show in his many projects, or under MOPES, then he’s in the crowd supporting the Cornish scene. The sound that MOPES produces is one that is reminisent of Parquet Courts and Ty Segall, it’s falloff energy, built around strong riffs, and carries that slacker/surf rock sound. It’s a DIY sound that is awkwardly confident, big things are certainly on the horizon for MOPES.

Max Rad

The multi-instrumentalist, producer, and songwriter Max Rad has been making waves through Cornwall, Devon and beyond. His blend of chill beats and mellowed vocals is a daringly infectious combination that encapsulates those summer days on the coast. His latest EP ‘Point Me In The Right Direction’ solidified him as one of the most exciting Cornish exports in recent years. Now as we drift through 2022 Max is pushing the boat out further. He’s playing a litany of festivals, a mini-tour throughout the south-west and more. This is a big year for Max so keep a beady eye on him.

THE REVIEWS ALBUM REVIEWS

THE MOMENT YOU’VE ALL BEEN READING FOR. Once again Clunk Magazine has scoured the music scene and with the help of the entire team we have once again gathered together our top albums released this year. Take a dive and discover the Clunk teams thoughts on some of the hottest records this year.

ARCADE FIRE

The band’s sixth album pivots back to a more melodic, sincere, and effortful style, attempting once again to find a genuine connection.

LUKE JAMES

Arcade Fire are a band who needs little introduction. With five albums, a movie soundtrack and multiple festival headline slots around the world, Arcade Fire have created a legacy for themselves with hard work, little fuss and a solid back catalogue. As the release of new album, WE got closer, it felt like Arcade Fire had found a new energy in both their presentation of themselves and in their streamed live shows.

Though WE opens as glowing embers with spacey piano, acoustic guitar and Win’s unfussed vocals, the flame catches when the bass drum starts pulsating. Turning into something of an electro tune, the drums kick in properly soon after with a beat that will see dancefloors getting pounded into submission. “Age Of Anxiety II (Rabbit Hole)” carries on this party with a pumping beat that almost feels like an LCD Soundsystem collaboration. After the John Lennonesque grandiose acoustic ballad of “End of The Empire I-III”, you can find recent singles “The Lightning I” and “II” respectively. Part 1 serves almost as a slower prelude to Part 2’s rampant bounce, raw energy and gang vocals. “Unconditional I (Lookout Kid)” is about as sweet a pep talk as you’ll receive from a stranger this year. “You can dance, you can shake, things will break, you’ll make mistakes” comes from the heart and lets you know that things won’t always go your way but “a life without pain would be boring”. The bounce to the track and the floating strings wrap themselves around your soul and are a welcome hug. Of course, this is all only scratching the surface as WE is an album that can be talked about at length. As well as the quality of the individual songs, the album has a flow to it that almost feels story-like. Musically it feels like an amalgamation of all of their albums before but also a step forward and fits perfectly in the timeline of Arcade Fire. The renewed energy that they seem to have found is heard in every note and there’s a live rawness to it that is beautifully refreshing. 2022 belongs to Arcade Fire and they’ve earned it.

Django Django

Django Django (10th Anniversary Edition)

LUKE JAMES

It’s been ten years since Django Django released their eponymous debut album to much critical acclaim. In the ten years that has passed since their Mercury Prize nominated album released, they’ve cemented themselves in the English music scene and musically continued to stand in a field of one. For those new to the band and the album, little introduction is needed as you hit play on ‘Django Django’ and the journey begins. From the desert acid trip of ‘Introduction’ comes a one-two attack of arguably their most recognisable songs, ‘Hail Bop’ and ‘Default’. With a sound that blends together psychedelia and art rock in some kind of drug fuelled haze, there are intricacies and layers galore but at the heart of it is good old-fashioned solid song writing. Dancefloor fillers like ‘Zumm Zumm’ and ‘Waveforms’ sound as fresh today as they were when they were released originally as they bounce their way in to your mind and ‘Hand of Man’ is still delightfully soothing.

As well as the original album, Django Django have employed legendary producer Mad Professor Dub to remix the album from start to finish. It speaks to Django Django’s songwriting and Mad Professor Dub’s ability as a producer that rather than sounding like forced remixes, each song sounds fresh and fits in to the flow beautifully. If nothing else, this re-release serves as a reminder of just how unique Django Django are as a band and may show itself to people that haven’t had the good fortune to hear this legendary band yet. So, treat yourself. Get a pair of headphones, get comfortable, hit play on this album and get lost in the musical equivalent of a journey through the desert to find yourself.

Everything EVERYTHING

Raw Data Feel

LUKE JAMES

‘Raw Data Feel’ is the sixth album from Manchester quartet Everything Everything and it sees the band set themselves apart from others yet again. ‘Teletype’ starts the album with its glitchy sounds and pounding bass drum as the track evolves in to almost a disco track with the synths and indie guitar flittering around your head, making it in to an electro pop track which would have anyone want to bounce along to it. Their take on dance continues with ‘I Want A Love Like This’ keeping that glitch theme running but this time with a full hopping drum beat and pulsating bass to create a transcendent indie dance gem. ‘Bad Friday’ is the song that sounds most like Everything Everything’s previous work with the emphasis on percussion from the outset turning in to a kind of low-key dancehall track with Jonathan Higgs knack for generating fantastic singable melodies ringing over the top. ‘Jennifer’ comes as something of a breather on ‘Raw Data Feel’ as the electronics are taken away and the band take it back to the core instruments. Still with that bouncing drive, there is something about Jonathan’s soaring vocals and the guitar that floats about that make this track stands out as a beautiful moment. In the writing stage for ‘Raw Data Feel’ tried something completely new and fed selected information in to an A.I. automation process and used its responses as the basis for the record’s lyrics, song titles and artwork. This trust in the future is felt in the music as well as Everything Everything seem to rely more on electronics on this record than they have on previous. The result is an album that would sit quite comfortably in an indie club or on your car stereo on a summers day, either way you won’t help but dance. With ‘Raw Data Feel’, Everything Everything have yet again demonstrated that they are a band that has no ties or peers and comfortably explore themselves and their music while maintaining an identity that is unmatched.

Fräulein

A Small Taste Fräulein are a two piece originally from Bristol and now residing in London and their debut EP ‘A Small Taste’ is a crash course in their brand of noisy 90’s-tinged alt rock. With a simple guitar line, thumping drums and female vocals dripping with attitude, opener ‘Drag Behind’ wouldn’t be out of place on a 90’s era Sub Pop compilation. When Joni Samuels and Karsten van der Tol unleash their epic sound, it transports you to a dingy club dripping with sweat and beer. The stomping drums that kick off ‘Breezy’ drive along the muted guitars and sweet vocals, easing you into the gigantic chorus which sees the drum kit abused and the fuzz on the guitar jacked all the way up. ‘And I Go (La La La)’ brings the sing along “la la la” chorus while the music sounds reminiscent of Nirvana with the swirling drum rolls and simple but effective riff work. ‘Golden Boy’ goes a bit easier on the listener after three of Fräulein’s best attempts at caving in your speakers. Though the track may be a little quieter, the drums are no less severe, and you can hear each hit reverberate. The guitars play an ominous plucked riff while the vocals add a sweet layer. ‘Golden Boy’ feels like a warm down after an intense workout of an EP and though it takes it easy on your speaker, it’s no less intriguing. ‘A Small Taste’ feels like just that, a little snippet of what Fräulein are capable of. A tribute to a sound that inspired them and with a monstrous weight behind it, ‘A Small Taste’ isn’t so much an introduction to a new band as it is a band kicking your door in and letting themselves in.

Alfie Templeman

Mellow Moon

KIERAN WEBBER

Alfie Templeman, the selftaught multi-instrumentalist from Bedford has been turning heads since his 2018 debut “Like An Animal’ EP. The psych tinged release was the beginning of his exciting career at a very young age. Since then, he’s released a slew of singles, EP’s and mini-albums that have all struck a chord with fans new and old. However, his most recent release and debut album ‘Mellow Moon’ is his most ambitious, daringly infectious, and cohesive body of work to date.

Throughout the album you’re taken on a sonic journey that drifts and weaves through indie, psychedelia, and pop. It’s an all-encompassing sound that constantly remains fresh and interesting, at no point does this album become boring. Although Alfie tackles subjects such as mental health and relationships (it’s arguably his most honest recording to date) the album remains fun, its eternally enjoyable.

‘Mellow Moon’ opens with the subtle, yet effective ‘A Western’, a track that delves into the intricacies of Templeman’s songwriting. Starting softly with a groove-laden bass that is interjected by the occasional wail of the guitar, driven forward by Alfie’s commanding, yet gentle vocals. This atmosphere is felt throughout, particularly ‘Best Feeling’, ‘Galaxy’, and ‘Mellow Moon’.

‘Mellow Moon’ is Alfie Templeton claiming his slice of territory in the musical geography of the world. It’s a calling card to say hey, you! I can do this too and I can do it better than almost any of you. It’s an exciting release that marks the beginning of what is likely going to be an incredibly successful career for the young musician.

Pillow Queens

Leave The Light On

LUKE JAMES

‘Leave The Light On’ is the latest album from Dublin’s Pillow Queens and is the follow up to their 2020 debut ‘In Waiting’. As singer Pamela Connolly’s gorgeous vocals break in on opener ‘Be By Your Side’ with the gentle guitar and the bass drum which sounds like a heart beating out of a chest, you can feel the electricity in the air. As the song builds, it takes you with it in a wave of beautiful noise. As the song ebbs and flows with vocal melodies sweeping in and out and drums taking the timing wherever they feel like, ‘Be By Your Side’ feels like the perfect start to a sublime record. From there, ‘Leave The Light On’ presents itself as a gigantic album. Though ‘The Wedding Band’ would be a standard indie song in some band’s hands, Pillow Queens create a huge sounding blanket of music. ‘Hearts & Minds’ with its vocal melodies and galloping tempo still maintains that airy feel with the guitars wailing over the top. ‘House That Sailed Away’ and ‘Delivered’ bring the pace down a little but in very different ways. ‘House That Sailed Away’ takes the wistful 60’s Americana Route whereas ‘Delivered’ takes the gloomier route with a sparse feeling to it. Part shoegaze, part indie, part Placebo tinged rock, Pillow Queens are creating their own brand of rock that feels both heavy and beautiful. ‘Leave The Light On’ feels iconic and carries the kind of weight of bands such as The Joy Formidable but with a lightweight beauty entwined throughout. Given the growth in songwriting and sound since the debut album, it will be exciting to see where Pillow Queens go from here.

The Regrettes

Further Joy

LUKE JAMES

After releasing their second album ‘How Do You Love?’, LA four piece The Regrettes were riding high with headline shows, festival slots and constant touring. When they retreated back home in the pandemic and LA shut down, they went through something of an identity crisis after the touring that had become their life of two years had been ripped away. When they were allowed to regroup, they spent 10 days together in Joshua Tree and what we have as a result is their new album ‘Further Joy’.

Where before The Regrettes were firing out poppy garage rock bangers, they have now entered the pop territory in earnest. Look no further than ‘Anxieties (Out Of Time)’ with its twinkling verses and euphoric chorus. The groove is infectious and the syrupy sweet feel to it is palpable. ‘La Di Da’ has a joy pouring out of it that will have you singing along with the titular “la di da” in no time at all. Lyrically, it has an edge to it that belies the upbeat feel to it. ‘Anxieties (Out Of Time)’ deals with the subject matter in the title. “An existential crisis and it’s only Monday” sums up the second track ‘Monday’. While the guitars may remain in tracks such as the upbeat electronic pop punk feel of ‘Better Now’, the synths and electric drums are most prevalent on Further Joy. This is only of benefit however. With this new direction, The Regrettes have instantly made themselves visible with an album full of gorgeously gooey pop.

Wet LEg

Wet Leg

LUKE JAMES

If you haven’t heard of Wet Leg by now, then the only excuse is that you live on a remote island with no communication from the outside world. Ever since the duo from Isle of Wight burst on to the scene with the effortlessly cool and beautifully absurd ‘Chaise Longue’ they have been the name on everyone’s lips. By the time they released their garage pop follow up ‘Wet Dream’, the hype was real and the demand for an album overwhelming. By the time they dropped their debut ‘Wet Leg’, expectations were high and so it came as a relief that they can indeed back up the expectations. As the dreamy ‘Being In Love’ comes straight in with droning bass serving as a backing for vocalist Rhian Teasdale’s sweet and wistful tones leading to a chorus that seems like a throwback to early rock acts like The Ronettes. The effortless cool threads itself through the entirety of ‘Wet Leg’ and the utter truthfulness in lyrics such as “I have to find a way out of the plans I made in the past, all too fast, force quit that’s it” (I Don’t Want To Go Out). The singles are in attendance as well and fit beautifully into the flow of the album. To discuss ‘Wet Leg’, the band and the album, in a short review is nigh on impossible. With lyrics that are brutally honest with topics such as not wanting to go out and feeling more comfort in lying in bed with your phone than on a night out, they never get bogged down but rather lifted by the garage pop dreaminess almost letting you know that it’s ok to feel like that. When a band receives as much hype as Wet Leg have, you worry that they may disappoint when it comes time to release an album, but all Wet Leg have done here is deliver on a promise made from the very first single and released an album of the year contender.

The Black Keys

Dropout Boogie

LUKE JAMES

While it feels like Ohio two piece The Black Keys are still fresh faced, their latest album ‘Dropout Boogie’ is their eleventh studio album! As well as creating an envious back catalogue, Dan Auerbach and Patrick Carney have a serious resumé when it comes to the world of music so when they come together to create, it comes with a depth of knowledge and love of the art form. The Black Keys waste little time as ‘Wild Child’ punches through your speakers. Auerbach’s vocals are passionate, the guitars are filthy and the drumming lively in this up-tempo garage blues stomper. ‘It Ain’t Over’ slips one foot into soul with a vocal track that has the grain and the feeling of some iconic 70’s soul epic. The chorus wails as the thick layers of instruments compliment the vocals and bring this song to life and give it a weight that is hard to imitate. ‘Good Love’ features the legendary Billy F. Gibbons of ZZ Top fame and has a blues funk to it that’s laid on so thick you can barely see through it. The low riding groove sets the perfect template for the guitar lick that goes hand in hand with the vocals to create a sound that comes from the heart and soul. The main sound that runs through ‘Dropout Boogie’ and ‘Good Love’ in particular is that blues sound that could only come from the deepest of the Deep South. It’s the type of blues that smells of the bayou and is truly heard in the vocal delivery and the haze of the guitar tone throughout. Running at only thirty-four minutes, ‘Dropout Boogie’ doesn’t feel rushed or too short. Instead, The Black Keys reach out of the speaker and drag you into their dark and hazy world. For a band eleven albums into their career, The Black Keys have absolutely no right to be creating albums as incendiary as this.

THANK YOU

2022 has shaped up to be Clunk’s biggest year yet – with the success of our previous Zines and gaining exclusive coverage for one of Cornwall’s biggest festivals this has certainly been incredible time for myself and the entire team.

This isn’t to say it’s been an easy journey, but with hard work and dedication we’ve managed to succeed! With this I want to begin by thanking all the contributors who have given their time to write, photograph and interview for this zine, we couldn’t have done it without you.

I also want to say a special thank you to Em Marcovecchio. As Kieran has mentioned Em will be joining us on this journey and will oversee and add the final touches to this and future zines.

Finally, I would like to thank all the musicians who have taken the time out of their busy schedules to chat with the team at Clunk and contribute to this Zine.

Till next time guys.