Claud - Super Monster Review
You would assume that with all of these varying accounts of failed or ended relationships, Super Monster would feel weighty and jaded but there is an undeniable light-hearted feel, with joyful optimism throughout.
Super Monster is the trail-blazing release from Saddest Factory Records, the new label owned by Phoebe Bridgers. As twenty-one year old Claud was the first signing to the label, it is fitting they chose this as their first full-length release, which dropped on 12th February.
Recorded at the fabled Electric Lady Studios in Greenwich Village, New York, the album is jam-packed with tender pop songs about love and longing. It’s full of yearning, of self-discovery and self-deprecation. It is a beguiling combination of fierce late-90s-style hooks, with punchy bridges and catchy choruses, all effortlessly laid over a landscape of solid beats and dream pop. It sounds both contemporary and nostalgic at the same time.
Claud is a notable storyteller; the lyrical content of each track is intimate, poignant and earnest, without ever being overindulgent or cliché. It is equal parts happy, and sad, and brings humour even when the subject matter is grim or heartbreaking. It is a reflective coming-of-age soundtrack.
The opening track is the breezy and giddy “Overnight”, which reminiscences of times where they were struggling with feelings of uncertainty, enjoying late-night parties, of the exhilaration of romance which is at last ignited: “All the time spent with you in my head turned into things that we finally did overnight.” From there, we continue on an introspective voyage, befriending our protagonist and experiencing firsthand the trials and tribulations of romance, relationships and finding oneself. Each of the album’s thirteen tracks has its own strong personality. “Gold,” the first single released back in October, thoughtfully and sensitively tackles the subject of a dysfunctional relationship, with lyrics such as “You like drinking and then taking things apart, But can’t you see we’re different people, I don’t wanna make this hard”. It highlights the struggles of realising there are destructive factors, most notably alcohol, presenting additional challenges, which are presented to us over a deceptively upbeat, disco-style tempo.
The fervent “Soft Spot” reminisces about a former relationship and the struggles of dealing with the lingering feelings — “I just can't take the rejection, maybe I'm just second-guessing” and “You told me that it's over now, But you're all that I think about... I don't know what the hell to do” are standout lines to this effect. Meanwhile, “This Town” deals with the topic of regret in such a relatable way. Over a backdrop of brooding guitar, Claud contemplates “We’ve been wasting time, Gettin’ wasted every night, Now my eyes are open wide blinded by street lights.” The delightfully laidback “Cuff Up Your Jeans” discusses the disappointment of unspoken conversations, “Call your phone, you never answer, Missing out on endless banter... But I'd love to chat your ear off.”
“Ana” is a bittersweet sentimental tale of a reluctant breakup and the realisation they need to strive forward to find a world outside that holds more than the present moment offers, set over a frothy pop beat that is laced with a healthy dose of synthesisers. “There are cities, And countries I should go, Things I want to know, And I promise, That I'll write you, In about a month or so, I'll be a different guy when I come home”.
The Spanish guitar-spiked “In Or In-Between” is riddled with uncertainty, Claud anxiously begging “Tell me what you mean" while pondering aloud: “is this going bad?” The precautionary “Guard Down” has the heart-piercing line “You’re seeing someone, I’m not though, and that feels really awful” but in contrast ends with the incredibly catchy and buoyant “There’s nothing like a New York Summer”.
On the heartfelt “Jordan”, peppered with self-doubt, they appear to be trying to ease tensions and attempting to postpone an inevitable break-up. Claud sings: “I’ll keep saying sorry for mistakes I never made; I’ll keep saying sorry just to make it go your way.” And on the scintillating, tongue-in-cheek “That’s Mr Bitch to You”, Claud isn’t afraid to tackle misogyny head-on, dropping lyrics such as “Bet your Mama said you were the shit, You still go around believing it” before guitarist Melanie Faye unleashes a savage sonic boom of a riff that fortifies the intent of this track as a killer put-down. Again, we can all relate to this, as we have all been up against this type of fool at one time or another.
The track that follows, “Pepsi” is one of the most fun, upbeat songs on the album: effervescent, literally, to its core; it has a beat comprising of opening soda cans, and laced with bubble effects throughout, which is in sharp contrast to the lyrics. These voice feelings of frustration and resentment, venting the likes of “I hate that I’m riding roller-skates, and you just bought a Ranger Rover” and “I don't wanna be rude but this song is for you”. The concluding two songs wind the album up nicely, with “Rocks At Your Window” seeing Claud at their most vulnerable. Being slightly more sombre in tone, it has a slower tempo and is melancholic in delivery. “Dealing with the heartbreak, Bet you didn't equate, The lack of you with pain”.
If I am being brutally honest, I am not entirely convinced “Falling With The Rain” quite fits with the narrative of the rest of the album, however, we have certainly come full circle. It is more decisive than the previous tracks, and they have obviously grown and matured as a person. “Think it's time to leave... It's all the same to me…. Oh, I've gotta know, what it's like to let your feelings go”.
You would assume that with all of these varying accounts of failed or ended relationships, Super Monster would feel weighty and jaded but there is an undeniable light-hearted feel, with joyful optimism throughout. The sympathetic yet slick production makes each track shine and, all-in-all, it is a very sweet, enjoyable and easy listen.