taphead
I was already completely captivated by their debut and expected another strong album. What can I say? It exceeds my expectations! An incredibly beautiful album, and at the same time a wonderful evolution that also reveals something new.
Favorite track: Silently.
Harrison Phinney
bop o’ the summer just dropped. TC3 is back with their inimitable flavor of sideways Bristolian pop, accessible yet weird. I thought Ups n Downs was gonna be a simple lil interlude, then they start swinging on a proper jazz tip! this band always surprises in ways that feel natural and never forced. after a fairly straight fwd journey, they drop the diabolical Movin On’ as the closer, a haywire affair like a melting child’s toy which eventually settles into a grin inducing groove. I lol’d w/ joy
Favorite track: Movin' On.
If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear.
Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.
With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut on Laura Lies In, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) 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, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… 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).
The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)
credits
released June 5, 2026
All songs by Tara Clerkin Trio
Produced by Dominic Mitchison
Mastered by Noel Summerville
Cardboard street by Saskia Thomlinson
Cover photography by Jennifer Lo
Design by Carter O’Sullivam
supported by 290 fans who also own “Somewhere Good”
I cannot descriibe how much emotions I have when I listen to Craven Faults. This album is even more intense as the others. Sometimes I wonder how am I able to feel such things from just soundwaves, but I can.
It is a pleasure. Thanks for your work. It's pure art. yoyoshi
After the release of their previous album, 2017’s “Season High,” Little Dragon return with a straightforward ode to ’80s R&B. Bandcamp Album of the Day Nov 13, 2018
supported by 269 fans who also own “Somewhere Good”
Ripping good stuff from HOUSE Of ALL. Maintaining respect for their origins out of The Mighty Fall, but nevertheless continuing to forge an awesome reputation in their own right. This is their fourth album, with each one keeping up their very high standards. The bonus CD & Digital releases include some excellent tracks, in particular a fine cover of John Cale's superlative "You Know More Than I Know". Gavin Hellyer