Norwegian-born, UK-based indie artist Filip Clements is set to release his debut album Soft Apocalypse on September 4th, arriving on LP, CD, cassette and digital formats. A day before the release, Clements will celebrate the album with a performance at Rough Trade Denmark Street in London, introducing a meticulously crafted collection of melodic indie rock, synth-pop and emotionally charged songwriting.
From the very first seconds, it is clear that a lot of talented people were involved in making this record. The performances are tight, the production is polished and the songwriting is consistently strong. Across eleven tracks, Soft Apocalypse feels meticulously crafted without becoming sterile, with Clements surrounded by a stellar line-up of collaborators including Grammy winners Catherine Marks (boygenius, Ed O’Brien), Martin Terefe (Yungblud, Robbie Williams) and Tord Knudsen (The Wombats).
The album opens with the understated hit Carte Blanche, immediately establishing Clements’ ability to write catchy melodies without making them feel overly obvious. The record continues with Right Place Wrong Time, built around a fantastic bassline that practically forces you to move with the rhythm, while the chorus delivers an excellent hook. As the album progresses, it becomes increasingly clear just how meticulous the songwriting is – there are very few weak melodies or choruses here.
Typhoon has a strong Sam’s Town-era Killers feel, while Fever Dream is one of my main highlights. It is more emotional and melancholic than much of the surrounding material, and I particularly enjoy the guitar solo cutting through the melodic chorus. Taking Flight once again reminds me strongly of The Killers. Clements’ voice is distinctive and very much his own, but it shares some of the qualities that make Brandon Flowers such a recognizable vocalist.
Around the middle of the album, I particularly enjoy the more minimalist Weightless, which relies on a motorik beat, bass and keys. The following Corners moves back into more melancholic territory before suddenly turning into an effortless, understated synth-pop hit. Its final minute is among the best moments on the entire album: an excellent burst of energy, a fantastic hook and wonderfully precise production. It is one of the record’s strongest moments.
Million Miles Away brings a welcome piano-led breather, exactly what is needed after the energy of Corners. The title track then returns to a more energetic approach, with something in its melody and beat that reminds me slightly of The Weeknd. The chorus, meanwhile, brought Zach Bryan to mind, particularly in the way he can build incredibly effective melodies. In fact, Soft Apocalypse is the kind of song that could probably work beautifully stripped all the way down to nothing but Clements and an acoustic guitar.
Better Together has something of a U2 feel, with a strongly nostalgic and emotional atmosphere. The album eventually closes with the more euphoric Tomorrow’s Parade. It leaves the record on a genuinely positive note, and that feeling carries through the entire listening experience – by the end, you feel noticeably more energized than when you started.
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