The US alternative-folk project of Clay Dudash last featured in the 2015 New Year Ninety.
Each time Clay surfaces there is a different texture to the sound and with the latest track Three’s A Crowd the additional injection of electronics gives the material a surprising new angle. Whilst the core of the sound can be discovered if investigated, the track has a more gracious feel with the synths billowing clouds into the room giving the track a spacious almost slow-dance EDM timbre.
I look forward to discovering where the music of Clay Dudash heads next, which won’t be long in seeing the light of day as the EP Favourable Behaviour is due for imminent release.
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Every day as I fire up the computer to review music submissions – I am reminded of the founding co-partner of – the Indie Bands Blog started back in 2009 – who will for ever be – 39. Love and thanks as always to Julie Norbury.
The New Year Ninety Chart 2015 – seventy to sixty-one.
70. Buzz Kull (Australia)
Dreams – Single – Buzz Kull is available on iTunes.*
69. Affairs (England)
68. Morning Fuzz (USA)
Chasing Ghosts – Morning Fuzz is available on iTunes.*
67. Bayonet (England)
My View – EP – Bayonet is available on iTunes.*
66. The Yetis (USA)
65. The Rungs (USA)
64. Pipsqueak (USA)
63. Nice Power (France)
62. Clay Dudash (USA)
Keep You Company – EP – Clay Dudash is available on iTunes.*
61. The Vex (England)
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Clay Dudash from the USA released the EP Keep You Company earlier this year.
Clay Dudash – Keep You Company – artwork
Track two of the five – Freight – recently appeared as a video.
Keep You Company – EP – Clay Dudash is available on iTunes*.
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Clay Dudash is the indie folk outfit centred around Clay Dudash from Tucson in The USA.
Before you hit play, don flares and throw over some beads, stand up and shake as you hit play, the rest will occur naturally. Retro sits well in the right hands and Clay Dudash has the right hands to provide music which rattles around the scintillated body. Through utilisation of additional players and vocal the balance of the material is allowed to flow smoothly through the room.
Expect no surprises in the space as Clay Dudash casts an acerbic eye across the landscape, providing a running commentary, whilst providing a conductor to strike an earth through which the bolts of lighting, expounded in the lyric, can ground themselves.
The resonance of the output lies in the contradiction betwixt lyric and the mellow mood of the music, which is precisely the footprint in which Dylan excelled.
More time and personal confidence, may perhaps allow Dudash the resilience to write more explicit protest songs for the 21st Century. It will be interesting to see if he takes up the cudgels of his own personal perspective of the world in a more direct manner, I hope he does and then we will have something of lasting memory.
For now, I recommend getting to know Clay Dudash in the embryonic stages.
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