Le groupe prolifique de rock indépendant de Cleveland Cloud Nothings revient avec un nouvel album sorti en février 2021, The Shadow I remember, le dernier de leur discographie vaste et célèbre.

Leur précédent album The Black Hole Understandings  a été écrit et enregistré au cours des premiers mois de la pandémie de COVID-19.  The Black Hole Understandings est « un disque né de cette anxiété et de cette confusion créées par la quarantaine », selon le chanteur/guitariste Dylan Baldi.
Environ un mois après le début de la quarantaine, Baldi et le batteur Jayson Gerycz ont commencé à s’envoyer des fichiers, avec des guitares, des basses et des voix enregistrées à Philadelphie et la batterie et le mixage entrepris à Cleveland. Ce processus d’enregistrement à distance a présenté un nouvel ensemble de restrictions pour Cloud Nothings, supprimant complètement l’élément de brouillage interactif et resserrant la production autour d’un ensemble de chansons pop estivales simplifiées.


Cloud Nothings was founded in a Cleveland basement, the one-man recording project of Dylan Baldi, an unassuming, then 18-year-old student of song with a remarkable ear for melody. Prolific from the start, Baldi’s early work was rough but immediate: crudely recorded, spring-loaded spasms of Buzzcocks-informed pop that quickly found an online following among the lo-fi-inclined. When an opportunity presented itself to open a small show in Brooklyn, Baldi abandoned a still-in-progress final project to be there. The gamble paid off. 

Cloud Nothings return with new album in February 2021, The Black Hole Understands, the latest in their extensive and celebrated discography.
Written and recorded during the first months of the COVID-19 pandemic, The Black Hole Understands is “a record born of this early quarantine anxiety and confusion,” according to vocalist/guitarist Dylan Baldi.
About a month into quarantine, Baldi and drummer Jayson Gerycz started sending files back and forth, with guitars, bass and vocals tracked in Philadelphia and drums and mixing undertaken in Cleveland. This remote recording process presented a new set of restrictions for Cloud Nothings, completely removing the element of interactive jamming and tightening the production around a set of streamlined summer pop songs.

In 2010, Carpark unveiled Turning On, a retrospective introduction that combined early 7″ singles and the full-length debut (a limited release on cassette and vinyl) from which it took its name. The following year, Cloud Nothings made its proper Carpark debut with a thrilling self-titled LP that found Baldi in a studio for the first time, shedding the many layers of hiss and distortion that had once obscured (or enhanced) his every hook. What followed was an unexpected breakthrough, 2012’s Attack on Memory, an album that very loudly (with the help of producer Steve Albini) announced the arrival of Cloud Nothings as the sound of more than just Baldi: Caustic and cathartic, it marked the first time Baldi wrote with and for his longtime touring band, drummer Jayson Gerycz, bassist TJ Duke and since departed guitarist Joe Boyer. While its rightly acclaimed and hastily recorded follow-up, 2014’s Here and Nowhere Else refined and expanded upon the volcanic interplay that galvanized its predecessor, it also found Baldi realizing his potential as a singer and the leader of an undeniably great rock band.  

Which brings us to Life Without Sound, his most polished and outwardly reflective set of songs to date. Workshopped over the course of a year with his bandmates, it’s an album rich in both worldly insight and incandescent detail. Smart, nuanced, and immensely listenable, this is guitar-driven pop as it should be—conceived by a songwriter who continues to sound like one of the finest of his generation.