Review: Clamfight ‘Clamfight’

You are welcomed into the fourth album from New Jersey/Philadelphia band Clamfight, with a gentle and calming introduction, a beat that reminds you of a warm embrace from a loved one.

Opener The Oar is just over eleven minutes long, and for the first two, it offers a soothing tone, before the pedal boards of guitarists Joel Harris and Sean McKee are touched, as the pace and accompanying noise from drummer Andy Martin, whose harsh vocals are at the forefront, and bassist Louis Koble are ramped up.

The foursome have been together since 2005, and it’s their first release since 2018, which sees them stretch their imaginations further and due to the COVID pandemic, it saw the album change shape. The band commented that ‘this is easily the most personal and important record we’ve ever done’ and you only have to listen to the epic opening song, to understand what they mean, as it’s a sombre, yet powerful composition.

The sobering approach to their music is evident in Brodgar as it takes you back to 2020. The album has become a memoir of how their long-standing friendship helped them through that period. This song is more dramatic, and you can sense the kinship and emotion pouring out of the speakers, with guest vocalist Sam Marandola adding a darker perspective to the lyrics.

Then it’s all guns blazing at the start of Dragonhead, which is a completely different beast, a bruiser of a track, with the heavy bass being significant in the mix. I prefer this approach to the vocals, they’re more aggressive and complemented by the battering ram drumming wrapped around the potency of the guitar sound. It offers more dynamism to their music, a more direct in your face feel, almost like a ‘fuck you world’ tone.

it feels like a fierce war cry…

FRH is more introspective, with the acoustic guitars being plucked and strummed alongside a simple beat. It has that personal quality about it, and they don’t overplay the song, cutting it short, so it feels like an interlude before they turn everything up and return with Drinking Tooth. Again, it’s nothing too heavy, but showcases a more layered and textured methodology to their songwriting. The guitars combine beautifully, and you get the perception that this is a song they’ve slaved over and pushed themselves further to achieve the result they’re hungry for.

The quartet have self-released this eponymous album, as they said that they ‘didn’t want to be beholden to anyone else’ and the album title track has a serene opening before you get to hear that crushing yet soothing bass sound from Koble. With guest vocals from Stephen Murphy and JJ Koczan, they add more depth and soul to the lyrics, giving it real empathy and then… BOOM, an explosion of noise envelops you, it feels like a fierce war cry with solos all over the place and angry vocals as it develops into a brilliant song.

The final track, Redtail, sounds tranquil and chilled in the opening bars. The guitar rips through the peace but doesn’t overpower the rhythm, which is steady and relaxing. They add some power into the mix, and I find myself drifting off and having wistful thoughts. It has that last album song feel to it, the one that wraps everything up and says what it needs to say, a closing release of anguish and heartache, all in one intense and humbling number.

Label: Independent
Band Links: Facebook | Bandcamp | Spotify | Instagram

Scribed by: Matthew Williams