Somewhere Good

With two extraordinary mini-albums making a splash on London's World of Echo label in wake of their self-titled 2020 debut, Somewhere Good is, in many ways, the Tara Clerkin Trio's most realised work. In running their usual gauntlet of idiosyncratic approaches, Clerkin & co. Color in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener's imagination - all while somehow sounding more like themselves than ever before.Of course, there are traceable influences herein.. Being the big dumb American from the small boring town that I am, cornfed on '90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can't help but to make a blatantly obvious reference to a "Bristol sound", ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You're Feeling Sinister, or - in expanding on our alternate reality - a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).- Ryan Davis (Chicago, February 2026)