The Clearwater Swimmers – ‘The Clearwater Swimmers’ review

Across the album, it’s like hearing a bunch of puzzle pieces come together and thinking, “Ah, yes! That makes sense.” Part of that means that there isn’t much that’s experimental or unexpected here, but that’s not necessarily a critique. The result is something foolproof and consistently good, as the album is undeniably built as a sum of great parts.

The first and most captivating is obviously Bright. His vocals feel like they sit in a lineage of great rock vocalists, capturing the same rich, velvety seduction and perfect gritty edge that has made star after star, decade after decade. Especially in moments where things are pulled back to the shell of the song that started it on, like on ‘Radiant’ or ‘Firewood’, Bright shines through as the clear leading force here.

But rivalling him is Sander Casale, the band’s guitarist. Between Bright and Casale, they’re delivering some of the best guitar sounds of the year, and stunning tones are coming out of their instruments. In the album’s opening second, their playing is especially goosebump-inducing. 

So much of that comes from the perfect array of influences that are coming into play; pieces expertly pieced together by the clearly capable musical troupe. First, there is the obvious inspiration of the classics, as there’s an undeniable nostalgic air to the album, and the ghost of 1970s rock legends looms over it all. But mostly, it feels like the band’s dual hometowns of New England and New York are at play, merging the grungier legacy of Maine with the modernised, catchier and sleazier indie scene of NYC. With all those things in the mix, it positions The Clearwater Swimmers in the running with newer acts like Wunderhorse, capable of taking up a place in today’s reignited love with guitar bands. 

From start to finish, the quality is high and consistent. However, if there is criticism to be handed, it’s because of that very reason. In areas, it feels safe playing when a band that is clearly this capable and talented could be pushing things further or daring to take some risks, even if that takes the form of Bright daring to leave the safety of the rock band for a second and give his original demo sound more space to breathe.

For fans of: Men in rock bands making rock music inspired by other men in rock bands.

A concluding comment from my housemate: “What’re they called?” “That’s such a shit name.”

The Clearwater Swimmers track by track:

Release day: 4th October | Producer: Bradford Krieger | Label: New Martian Records

‘Valley’: Built of absolutely gorgeous guitar tones, the opening chord rips provide instant goosebumps. Pair that with the first introduction of Sumner Bright’s vocals, and the result is a perfect, nostalgia-dripped rock track. [4/5]

‘River’: As if the candles are light and the light of day has set into a moodier dusk, ‘River’ offers up something moody and cinematic with a seductive edge in those enduring, rugged guitar tones. [3.5/5]

‘Let Us Be Strangers’: Across the record, the instrumentation keeps adding new things to stay fresh, but sometimes it’s not enough to keep focus. This track is undeniably beautiful, but it feels forgettable in the lineup. [2.5/5]

‘Proud’: After two slower cuts, the energy picks back up a bit for ‘Proud’, a song that perfectly captures the band’s duel influences of the NYC indie scene and the grungier sounds of New England. [3/5]

‘Man Of God’: Listen to this one in headphones, please. The mixing of the guitars on this track brings the goosebumps back as the tones are rich and luxurious, and the positioning of the sound in your eyes feels immersive. [4/5]

‘Firewood’: The album’s development from a series of one-take acoustic demos from Bright into full-band production feels clear here. It’s a song that would’ve been beautiful in its simplest form but is bolstered into something endlessly more effective by the full troupe. [3/5]

‘Heaven’s A Bar’: If ‘Heaven’ by Talking Heads was written by Jeff Buckley and then covered by some indie rock troupes like Wunderhorse, who are inspired by Nirvana. There is a lot in the mix, and all of it is great. [3.5/5]

‘Weathervane’: The return to the simple, stripped-back sound of Bright’s initial demos is gorgeous, to the point where I almost wish that the rest of the band didn’t come in and instead just allowed the song to stand sparse for a while longer. [3/5]

‘Kites’: A song that begs to be heard live. I want to hear this thundering out of amps with all those guitars turned up so loud they’re pounding eardrums. Informed by 1970s rock bands, the house parties that defined the early grunge scene and the sleaziness of their NYC home, all those references lead to a gritty and glorious rock track. [3/5]

‘Radiant’: The final track delivers the sparse, acoustic moment the album has called out for. Hearing Bright’s original demo feels so special somehow as if finally hearing the spark that started it all. But I wish there had been more of this scattered across the record. [3.5/5]