Like Clockwork

Emotionally powerful, Like Clockwork couples heartfelt, passionate vocals (at times, reminiscent of the awkward, wavering Conor Oberst style) with intricate, creative indie rock and electro elements. The songs cover a variety of emotions, none seeming particularly positive, leaving the listener to experience what seems to be some troubling times for the songwriter. The multitude of stylistic influences keeps this 15-track album fresh. (CM) - Impact Press

If there were a moral to Like Clockwork's latest album, it would be: break-ups suck. Why? Because Jesse Astin recently suffered a breakup large enough to spawn 15 songs on the topic. Those 15 songs were compiled, and the title "A Cross in the Ground" was stamped on the resulting album.

These fifteen songs of electronica-tinted hard rock, rock, pop, and balladry are confessional in the highest sense of the word. This is some of the most emotionally draining music I've ever heard. It's like Astin scrubbed his mind of every thought, then wrung out the sponge into these songs. I feel like I know Jesse Astin after listening to this album. That's how much emotion was put into this. Its truly amazing.

The songs range from sparse piano to thundering hard rock, and everything in between. I said that already, but there's really no other way to explain it. It's all extremely well coordinated and extremely well written, which was a surprise to me, as albums that span multiple genres usually fare horribly. The best songs here reflect that, as "A Poison to Stir" is an acoustic-led ballad, and "No Out Girl" is a highly electronic, abrasive rock piece that crescendos wonderfully to a chorus that is epic in scope and sound. If there were more like "No Out Girl", this album would've been even better than it already is.

In fact, the only thing that fares horribly on this album are the vocals. Astin's voice is a train wreck of a voice: off-key, yelping, nearly screaming in some parts, and grating on the ears. In a few songs, his off-kilter vocal explosions fit well ("A Poison to Stir" to actually has an excellent vocal performance), but overall the impression left is: "AUGH, THESE VOCALS ARE KILLING ME!" I hate trashing vocals, but Astin's leave a negative mark that you don't soon forget.

Perhaps there's some genius in that...It is true that whatever song you listen to by Like Clockwork will stay in your head. You may not be humming along (probably not, actually), but you will remember it.

I would put Like Clockwork in the column of 'Bands I Like'; I just don't think they would be very high up on the scale. After all, you have to work to appreciate it. I'm not opposed to thinking about my music and repeating it till I'm accustomed to it, but the best music connects without thought. - Independent Clauses

Like Clockwork's 'A Cross in the Ground' is truly the mother of all breakup albums. A masterpiece of concept and execution, these 15 decidedly un-easy listening, sometimes squirm-inducing tunes paint and unflinching portrait of a man coming unglued at the end of a relationship and then slowly beginning to put himself back together.

There are musical similarities to last year's Kill The Word - singer/songwriter Jesse Astin's trademark shambling, clanking beats and angular melodies are present and accounted for - but there is a lyrical clarity and thematic focus here that, for all its other charms, the previous record lacked.

In the opening song, March, Astin announces: "Now my anger's unfurled" -- and he's not kidding. The next three numbers, The Chapter ("I'm trading in my cross just for a loss / I should have filed long ago"), Written Down ("I hope it makes you think, yeah, darling, I hope it makes you cry all night"), and The Medic ("All the knives that you're throwing at me / They're just making me quick"), find him railing helplessly at his departed lover. And it's not just the words - even the music sounds angry. The clattering backing tracks suit Astin's agonized yelp of a voice perfectly.

The following three songs, Truth Is, Crescendo, and A Cross In The Ground are sadly reflective, with Astin sounding exhausted after the preceding vitriolic outbursts. The title song ends with him muttering: "Friends will be friends 'til the end / Until then all I have is pretend....shame, shame, shame". A little self-pitying perhaps, but he's recovered enough by the next song (A Poison To Stir) to be considering revenge.

After a brief lapse into denial (Up To You is the "maybe this can be salvaged after all" song) we are treated to the rueful, almost Brechtian The Girl Song which, although presented as almost a joke, is clearly an attempt by the writer to find the strength to say "goodbye" - which he does, literally, in the the following song No Out Girl.

Having taken us on a journey through anger, disbelief, sadness and denial, the album closes with four songs about the struggle for acceptance: Be Spiritual ("So hey / Life isn't what you thought it would be"), Small Cold ("But someday we'll be much more"), Sunburn And Summer Love ("Now we can pretend this never happened"), and finally the poetic and masterful end piece Roundtrip On The Hellway, which features these graceful closing lines:

"Thank you for last year / It graces me entirely to say, that today, I know her / She's a case in her own trial year"

Last year I hailed Like Clockwork's Kill The Word as a work of genius and named it CD of the year. Well, this is better - way better. Musically adventurous and emotionally honest, Jesse Astin is a young artist who is only beginning to show the world the depth of his talent. A Cross In The Ground is a mesmerizing work of musical art. - Norman Famous

Like Clockwork, we meet again. Like Clockwork is the solo project of Atlanta native Jesse Astin, a member or former member of about 15 different bands that have graced stages across the city. One of my first reviews for this site was Kill the Word, an album that was mediocre/moderately good and completely undeveloped. What I have before me now is perhaps leaps and bounds forward from what was released less than a year ago. When I speak of potential in bands, this is what I mean. And I’m glad to see that it actually happens.

Jesse Astin plays practically everything on the album, from guitar to drum/drum machines to what seems to be an accordion. The music is much more fully realized than his first release, and it works to great effect. Sputtering drum-synth lines have been replaced by more inventive textures and beats and empty, out of key vocals have been replaced by full…out of key vocals. Some things can still use some work. But overall, better production values and a more creative approach to songwriting have made for a better album.

But let’s take a look at what can still be improved. Astin’s vocals are still a mock Conor Oberst impression. And perhaps that’s the effect he’s trying to get here. But it doesn’t suit him well. When he controls his voice during a fast passage, he sounds fine, but when he sings slowly, in a multi-tracked orgy of dissonance, it becomes an ear grating assault. It works for Bright Eyes, but it just sounds weak here. Also, while maturing musically, Astin’s lyrics still border on pretentiousness. Take for instance the chorus of the title track. “Dark, dark, dark shards of that cold, cold tarp”. I feel like putting on my dark eyeliner and growing my hair out so I can dye it black.

Astin still has some work to do, but for the most part, he’s made dramatic progress. The use of real drums on some tracks, the better guitar work, and the lack of uninspired piano pieces are a great improvement over Kill The Word. The acoustic ballads still seem a bit out of place, but they’re rather good now. “Sunburn and Summer Love” is actually a great song, lyrically, musically, or otherwise. Get that to Saddle Creek records and you’ll have a deal. Honestly, this album so surpassed my expectations that I wouldn’t have believed it was the same band had the Like Clockwork web site not confirmed it. I’d gladly recommend this album, despite any pretentious brooding and wearing vocals.

(4 out of 5 stars)

by thenakedclef @ http://www.southofmainstream.com - South Of Mainstream

Back To The Discovery Files…
It's been a couple of months since I turned you onto something new. But here we go. Out of all the unsigned demos that I receive for one reason or another, I have never heard one that was quite like the latest record from Atlanta's Like Clockwork. Similar to Nine Inch Nails in that Like Clockwork is simply musical prodigy Jesse Astin, the situation is beyond good it's better than 90% of the music that is currently label affiliated right now.
A trip through the fine line between organic and electronic as well as the one that exists between psychedelic and straight ahead, the new record A Cross In the Ground is genius work. Smidgens of poetic rock, industrial, alternative and emo all pop in and out of the mix making songs like "March" and the anthemic "The Chapter" standouts.
Fans of Jeff Buckley, NIN, U2, Radiohead, Moby and Lost Prophets will bug out on this album. Find this music at www.likeclockwork.net . Now.

~ Adrian Glover. - Aquarian Weekly, NYC

October 2007 Southeast Performer Review
Current mood: satisfied

It was supposed to be a competition — a writer's race to create an entire album in the month of February. But Like Clockwork frontman Jesse Astin quickly realized that the potential for his first side project went far beyond a brief, 28-day, slapped-together creation. So the Atlanta songwriter/multi-instrumentalist/producer, along with the help of a few friends and fellow area musicians, assumed the name That's Called Going For It and recorded an eight-song demo under the same name.

"This record is less about me and more about you and where you're going," says Astin of the differences between Like Clockwork and TCGFI. "It is meant to inspire in a time where inspiration isn't easy to come by."

Inspiration is certainly a common lyrical thread throughout the record. Astin touches on difficult issues ranging from our overreaction to global warming to the struggles of growing up, but always touching on the topics with the delicate message of hope and reassurance.

Musically, That's Called Going For It is a sonorous patchwork of tireless electronic-rock using post-shoegaze, indie-rock and noise-pop as its patches. Astin stitches the styles together like a masterful tailor in such a way that is both sensible and yet ever expanding. One gets the idea that this record should be playing over a laser show in a dingy basement filled with indie musicians and DJs blasting out an anthem to despair. Sound confusing? It really isn't, once Astin lays it all out for you. Download the full album for free at www.innervoicemusic.net. - Southeast Performer