Montevidead Goth Clovvder Clovvder is an occult, experimental music project utilizing dark ambiance as the major structure for most of their songs. In fact, I think the descriptor appearing on their Facebook and Bandcamp pages best describe the duo. It reads as follows, "Velvety white smoke filling the room. Rusted wire intertwined. Feral cats purring to the moon." As far as I can see, and from other coverage on the website, Clovvder has been around since 2015 when they released their cover of The Smiths' 'Well I Wonder'. Since then they have released a couple of other singles and the like. It was when the project released 2018's single 'Witch' did I then become interested in getting my hands on a proper release from Clovvder. Now, in 2020, did I come across Clovvder's first ever physical release titled "Montevidead". Only, to my initial dismay, did I see that it was a live release. I say that as ninety-percent of the live releases that I have come across have either terrible recording or a studio counterpart that sounds much better. Begrudgingly I clicked on the play button for the release and, to my surprise, did I find myself not only enjoying the live release but hardly able to discern the difference between the digital files and the live version. Well, that's aside from the clapping and praise from the audience in attendance.To wind up the show, Clovvder began off with a simple intro that's gloomy and grim. This intro bout led us right into a new song 'Hydrophilia'. Playing off of the dark ambient track that started off their performance, 'Hydrophilia' is a minimalist song, seldom using nothing more than reverberating vocals and what sounds like a waking heartbeat to illustrate their mood. '93' follows suit for the beginning of the song, but the pulse becomes more and more frantic as this spell took over the stage. It was as if whatever ritual Clovvder had prepared was coming to a cataclysmic climax. Montevidead by ClovvderHearing 'Witch' performed live was better than hearing it in its studio version. The mesmerizing vocals from the lead singer made for a much more dynamic single and the swaying, spooky synthesizers helped this cursed aura breathe further. For those curious as to whether Clovvder's singer can hold a note or not, you only need to look at 'Gods' to realize that they absolutely can do so. An ethereal yet still minimalist rhythm forms while their chords stretch throughout the song. Towards the end of 'Gods' black metal influence takes over as raw guitar and noise sheds through the darkness. Perhaps my favorite song from Clovvder came up next: a cover of King Dude's 'My Mother Was The Moon'. The synthesized cover is emotive and beautiful but not without fault. I hope that if Clovvder releases a proper full length album, they allow the vocals on the track to become clearer. I feel as if the vocals are fogged with reverberation and echo, making it hard to hear the natural talent of the singer come forth. Still, it's a damned good song. The only song on the album that I had a problem with was the final track, 'En la inmensidad', which only begins after a one-and-a-half-minute bout of silence. I'm not sure if this was done purposeful or not, but I missed the song on my first playthrough. I thought the silence meant that the album was over and then moved onto another album. When I came back to it later to purchase it, I was quite surprised to see it sitting there. Nonetheless, after the silence passes, I was given a final outing with Clovvder's lovely occult nuances. Clovvder's "Montevidead", though not without fault, is a great live release that does not sound like a live release. If I had not heard Clovvder before and someone came to me with this release, I would have been flabbergasted to find out that it was a live release. "Montevidead" has been released in both digital and limited edition cassette formats. While three cassettes remain on Bandcamp, there are twenty-six more waiting to be purchased via Breath Plastic Records' online shop. Go get yourself one.  450
Brutal Resonance

Clovvder - Montevidead

8.0
"Great"
Released 2020 by Breathe Plastic Records
Clovvder is an occult, experimental music project utilizing dark ambiance as the major structure for most of their songs. In fact, I think the descriptor appearing on their Facebook and Bandcamp pages best describe the duo. It reads as follows, "Velvety white smoke filling the room. Rusted wire intertwined. Feral cats purring to the moon." As far as I can see, and from other coverage on the website, Clovvder has been around since 2015 when they released their cover of The Smiths' 'Well I Wonder'. Since then they have released a couple of other singles and the like. 

It was when the project released 2018's single 'Witch' did I then become interested in getting my hands on a proper release from Clovvder. Now, in 2020, did I come across Clovvder's first ever physical release titled "Montevidead". Only, to my initial dismay, did I see that it was a live release. I say that as ninety-percent of the live releases that I have come across have either terrible recording or a studio counterpart that sounds much better. Begrudgingly I clicked on the play button for the release and, to my surprise, did I find myself not only enjoying the live release but hardly able to discern the difference between the digital files and the live version. Well, that's aside from the clapping and praise from the audience in attendance.

To wind up the show, Clovvder began off with a simple intro that's gloomy and grim. This intro bout led us right into a new song 'Hydrophilia'. Playing off of the dark ambient track that started off their performance, 'Hydrophilia' is a minimalist song, seldom using nothing more than reverberating vocals and what sounds like a waking heartbeat to illustrate their mood. '93' follows suit for the beginning of the song, but the pulse becomes more and more frantic as this spell took over the stage. It was as if whatever ritual Clovvder had prepared was coming to a cataclysmic climax. 



Hearing 'Witch' performed live was better than hearing it in its studio version. The mesmerizing vocals from the lead singer made for a much more dynamic single and the swaying, spooky synthesizers helped this cursed aura breathe further. For those curious as to whether Clovvder's singer can hold a note or not, you only need to look at 'Gods' to realize that they absolutely can do so. An ethereal yet still minimalist rhythm forms while their chords stretch throughout the song. Towards the end of 'Gods' black metal influence takes over as raw guitar and noise sheds through the darkness. 

Perhaps my favorite song from Clovvder came up next: a cover of King Dude's 'My Mother Was The Moon'. The synthesized cover is emotive and beautiful but not without fault. I hope that if Clovvder releases a proper full length album, they allow the vocals on the track to become clearer. I feel as if the vocals are fogged with reverberation and echo, making it hard to hear the natural talent of the singer come forth. Still, it's a damned good song. 

The only song on the album that I had a problem with was the final track, 'En la inmensidad', which only begins after a one-and-a-half-minute bout of silence. I'm not sure if this was done purposeful or not, but I missed the song on my first playthrough. I thought the silence meant that the album was over and then moved onto another album. When I came back to it later to purchase it, I was quite surprised to see it sitting there. Nonetheless, after the silence passes, I was given a final outing with Clovvder's lovely occult nuances. 

Clovvder's "Montevidead", though not without fault, is a great live release that does not sound like a live release. If I had not heard Clovvder before and someone came to me with this release, I would have been flabbergasted to find out that it was a live release. "Montevidead" has been released in both digital and limited edition cassette formats. While three cassettes remain on Bandcamp, there are twenty-six more waiting to be purchased via Breath Plastic Records' online shop. Go get yourself one. 
Oct 06 2020

Steven Gullotta

info@brutalresonance.com
I've been writing for Brutal Resonance since November of 2012 and now serve as the editor-in-chief. I love the dark electronic underground and usually have too much to listen to at once but I love it. I am also an editor at Aggressive Deprivation, a digital/physical magazine since March of 2016. I support the scene as much as I can from my humble laptop.

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