As we are told, when you listen to cLOUDDEAD, something different is happening. And while it could be an alienating kind of different, the strange attraction is like in a horror movie: you are walking towards the strange noise in the house, instead of running away and fleeing the building. In such a scenario, it will mean your death, here, what will be left dead, is your expectation of what you like and not. We could continue giving this fluffy names, continue with those appreciated abstract reviews, and we most likely can't help it, but to stray away in such regions from time to time. But eventually, as the accompanying paper says so absolutely right "anything you say about the music of cLOUDDEAD is probably going to make it sound less good or more absurd than it actually is".

Basically, what you should know, maybe already know, cLOUDDEAD is the threesome of Dose One, why? and Odd Nosdam. And with the help of Mush, they went on to release 6 enormously limited 10" records, featuring strange cover work, and even stranger, as pretty much non existent labeling, and in total 12 sides of roughly 6 minute tracks. That makes a rough 72 minutes in total, an obvious 12 tracks, but if you look at it the cLOUDDEAD way, it's 73 odd minutes, and a whole bundle of more tracks, as what is collected to one entity, usually consists of different chapters that are a progression of the initial spark, that then changes the flames from one shade to a darker or brighter relative.

The 10"es are numbered, not necessarily on each record, but in spirit. And the first one was "apt. A", that is also the one opening the album. The first side is the one featuring Illogic, the fellow Ohio'an emcee. A layer is functioning as the intro, before bitter sweet clusters, in theory done by Odd Nosdam, provide the patch of canvas for why? and Dose to put their lyrical paint to. Once part one is done with, part two then allows Illogic to grab the mic, and opening the thread of communication. The other side of this 10", here called "apt. A (2)" once more opens with a melodic layer, that is the plush bed the lyrics are comfortable on. And once more halfway through the track, the style is flipped, and why? is taking the forefront with his sing songy style, while in the back, a grinding machine / drill / chainsaw / (find your nose making tool, and fill it in here) suddenly functions as an instrument.

cLOUDDEAD no. 2, the 10" with the people on the stage, gets darker in mood and in emotion. "and all you can do is laugh. (1)", is opening with such a rather unthrilled mood, before the somewhat more obscure part, with water carillons and horns, preparing the plate for more of Dose and why?'s lyrical discoveries. Only in time to once more making this a various parts experience, taming the vibe down, and giving us a sweetness, that usually comes with something that gives you caries. With that done, DJ Signify shows up on "and all you can do is laugh. (2)", to make something instrumental, with his trickery and with our approval. The vibe is continued, what has you realize, that each of the 10"es, and so each of the track couple (read pair), have their own characteristics, that have you realize them being connected. The bass and violins, cello are the instruments giving this the taste it has and finally we are concluding with a quicker rolling something.

With "I promise to never get paint on my glasses again. (1)", the voices are present from the start, and unlike the dark, black and white cover, no. 3, whilst exploring echoes, does not become gloomy, just more dramatic and in a way finalizing. In part 3, so to say, Anticonian fellow Sole, shows up to share the expression of words with cLOUDDEAD. The strings appearing are once more showing the brilliance that is within the beats, that have been found in similar tradition, on other releases by these people. And if you wonder what exactly is meant, then take "I promise to never get paint on my glasses again. (2)" and take away some of the evil spirit at the beginning, and take the progression as an example. The progression results in a procession of slowly strolling, meditated emotions, hidden within what you see on face value, but exchanged on the level of karma's and 7th dimension holiness. Then again, the last part features raised voices, so acts like the outspoken version of this theory.

10" No. 4 is referred to as "JimmyBreeze (1)", and The Wolf Bros. are mentioned as guests on this record. A telephone conversation of unclear meaning tries to take away our attention of the drum programming, the table banging percussion and the early video game sounds, then are chaoticized to be restored again, and be followed by a guitar plucking along and have you picture a highway with faded lights, you pass by in nightly day dreams. The connection to "JimmyBreeze (2)" is then not too obvious, this being like the awakening in a field of flowers and glistening light. But once more that's just the first frame that hits our ears, as the second is Mr Hyde. With the end of the track, the transition to "(cloud dead number five) (1)" is enabled. This track is urging you to 'approach the light' and 'accept the truth', so to say. Expanded chords, clusters of dusty layers are the light beams and are the yoga, even if the drum, and Mr. Dibbs minimal work is making sure, we don't fall in a artificial coma. As again the hypnotism of "(cloud dead number five) (2)" is bathing us, with movements slowed down by the water, christening us with sounds. Now, these two tracks are the instrumental relaxation, the anthems and overture of cLOUDDEAD. Why the sequencing didn't put them at the beginning, is questionable, but gives the album's continuity a sudden standstill in slow-motion, again elaborating the reason, just maybe in a different way, than usual.

As this 10" also showed, there's little meaning paid to the naming of tracks, despite the next one "bike (1)" again featuring a name. This time the guests are The Bay Area Animals, that are given a track, that has checked the standards of hip hop music, not like other tracks, that are refusing to even acknowledge to have heard of such a thing. Still, that's dropped as quickly as picked up, as we are then confused beyond our usually confused state: Are they talking backward? Are they reversed? Are they talking backward, and then are reversed, to give us the words forward? Whatever it is, and it might as well be a mixture of all of that, it sounds amazing. Also the canon like chaotism gives us an abundance of the incredible creativeness that restraints itself before becoming odd, as it's still always following a purpose, and making sense. In some way. Also with "bike (2)", whatever has been held back, is now let run free, with folk singing, before the phone is ringing and without any ado, this album is suddenly over.

What then has us find some conclusion, and maybe explanation. As we said in the beginning, you will find a stronger head appeal and approach in this than you might expect. And you will be needing some time to be realizing such, as it doesn't jump on you first glance, it might not jump on you at all, but this will sneak on you and have you widen your definitions and expectations. As this is Buddhist like chanting, done with the aesthetic of shelltoes, we refer to the written sheet again, saying "they just sound different". But who are we kidding. You knew that already, right?