Slightest Clue
Just Fine
We’ve had a great run of artists from the PNW lately, so let’s keep it going with a band out of BC, who’s lead singer hails from WA. Meet Slightest Clue, an alternative quartet comprised of an engineer who idolizes John Bonham, an actor, a guitarist whose lost count of bands he’s been in and recovering choir girl who is the singer and bassist. They are, Malcolm McLaren, Hannah Kruse, Sean Ries, and Nick Sciarretta. Reading their bio they’ll tell you that this combination shouldn’t work, but funny things happen when you put four oddballs in a room with instruments - magic tends to happen - and they still don’t have the slightest clue as to why it works.
They’ve released 10 singles thus far and continue to build a following around the Vancouver area. There’s a wonderful looseness and rough edge to what they do, and it’s a big bonus to have two lead singers (Hannah and Malcom). This track, they’re most successful to date, features Hannah on lead and is from their latest five song EP (Twin Silver) - here’s our review.
Track starts with a full band build up in E, and a nice use of the major 7 before they switch up to the four chord. Great energy and overtones, and beautiful interplay between the melodic bass line and lead line coming off the guitar. I’m always a fan of being able to hear that the recording is a live band - which you can pick up from the buzz in the first second of the track, and the overtones. When the first verse starts, Hannah wisely chooses to hold a single note under the melody - creating ample room for her voice to do the heavy lifting. Love the note choice of the lower lines here by their choice of using the 1 and 3 while her melody starts on the 5, before they move up to the 6. Great dissonant trick - clever writing. Halfway through the verse there’s a great shift in melody with the addition of a cool tremolo tone from the second guitar. I think this is a great example of the different between grunge and alternative - you wouldn’t hear this much movement and note choice in a grunge band.
With the chorus they continue to make some really cool choices with the composition. That melodic bass line from the intro comes back and she’s sing over top of it, starting her melody on the 2. The backgrounds on the back half of the track push the tonality a bit, but it’s totally cool. Not out of tune, mind you, just not what you would expect to hear while they mix the major and minor. This shows up again at the end of the song, as well. Second verse has a nice build up, primarily in the vocal delivery and content of lyrics. With the second chorus you begin to pick up on the doubling of her vocal track - great choice.
After the second chorus they hit us with a really nice breakdown and change up in the chord progression. Lovely use of 7th chords, and I love that flat 6. Solid fills from the drummer (who’s been great the whole track, by the way!) really add that special sauce to this section that makes it click. Great build up to bring us into a funk like section that explodes into a chorus with a different set of chords for the ending.
What strikes me the most about this track is the unconventional note choice. Now, don’t get me wrong. I don’t mean that in a negative way. I love songs that keep me guessing as to where it’s going next, and if I guess correctly, I get bored and “change the station.” This one kept me guessing the whole time. I didn’t expect the bass line to be so fluid. I didn’t expect the melody to start on the 2 in the chords. The scattered use of major and minor 7th chords adds a great dimension to the track, and then, lets throw in the vibrato tones, the break down, the hits, the funk - all of it. There’s a lot going on here - it’s very unique and it all works together really well. This must be easier to play live than track - it’s the type of song where the energy probably just explodes off the stage - really dig it!
Make sure you scroll down to catch their socials, upcoming shows and other tracks. “Baby Jade” has a great groove, and a great melody that rises up against the descending bass line. Lots of XTC vibes in this track, and the chorus is wonderful - great PNW sounds. “Sibilance” has a wonderful odd meter feel, with solid rhythm tones and a great vocal delivery - very authentic. Love the chord progression on this one - definitely kept me guessing. I also really appreciate that lonely solo tone in my left speaker that shifted over to both speakers in the heavier sections (and the drum fills are solid). Then there’s that super washy guitar solo that absolutely kills at the end.
Great work Slightest Clue, you have a solid band with a great sound. Hope to see you down here someday!