Super Monster

Kicking off their recording career as half of collegiate duo Toast in 2018, Chicago native Claud Mintz soon went solo, making a warm and vulnerable brand of indie pop with a playful bent as Claud. Deciding to pursue music full-time and attracted to the sizable queer scene of New York City, Claud left school, put down roots in Brooklyn, and was quickly offered tour slots in support of acts including the Neighbourhood and Girlpool. In the process of expanding their audience, the singer/songwriter made a fan of Phoebe Bridgers, who decided to make Clauds full-length debut, Super Monster, the first release on her Saddest Factory imprint. Further endorsements came in the form of guest appearances from artists including Clairo and Nick Hakim in addition to Toasts Joshua Mehling, who also co-produced some of the songs. Hakim sings backup on Ana, a melancholy tribute to a love left behind whose arrangement consists of strummed guitar, atmospheric synths, and Clauds tender, tuneful vocal line. (Unknown Mortal Orchestra’s Jake Portrait plays synths and guitar on the track.) While that song makes do without drums, another trait of Clauds style here is simple beats as well as simple hooks. What offers stronger enticement for repeat listens are relatable, heart-on-ones-sleeve lyrics about disappointment, heartbreak, and burgeoning love, combined with a youthful charm that makes memorable mini-anthems of Thats Mr. Bitch to you and Dont let your guard down. In that spirit, over half of the tracks here come in under the three-minute mark. Meanwhile, production touches like varied vocal distortion, warped and woozy delay, and the pull-tab sound effect on Pepsi have the potential to keep listeners alternately hypnotized and playfully provoked. The takeaway is a debut thats sweet and full of winsome promise. ~ Marcy Donelson

クロードはブルックリンのシンガー・ソングライター。2018年頃から大学の友達と本格的に音楽活動を始め、すぐさま早耳なリスナーの間で話題になった。それ以降も順調にキャリアを積み重ね、ファースト・アルバムである本作のリリースに至っている。本作を聴いて真っ先に耳が反応したのはメロディーの親しみやすさだ。コード進行のシンプルさゆえに、〈ながら聴き〉でも瞬く間に曲の旋律を覚えることができる。その魅力にはソングライティング力の高さが滲む。耳をカラフルに彩ってくれるアレンジも見逃せない。細かくハイハットを刻むビートがロドニー・ジャーキンス的な"In Or In Between"、ファンクの要素を醸すエレポップ"Pepsi"など、曲調の彩度は非常に高い。
bounce (C)近藤真弥