Caleb Clardy

Invincible Things


Over the past decade or so, Brooklyn-based songwriter Caleb Clardy has co-written and collaborated with many artists, most notably with Zach Williams from The Lone Bellow. After years of developing as a writer, Clardy is set to share his debut record Invincible Things, (available October 13th) and aiming take listeners on a lyrically-driven, modern Americana journey.

The release of Invincible Things was made possible through impromptu writing sessions with Jonny Aherne, bassist for The Temper Trap. Aherne offered some help and encouragement that ultimately led Clardy to move forward as a solo artist. Aherne says of the project, “Sometimes it takes a very long time for things to happen suddenly. After many nights of jamming, I realized Caleb had ten years of writing and it got me. There were these poetic ramblings and straight up heart poured in.”

Demos for Invincible Things were graciously recorded by Amy Lee of Evanescence at her home studio in Brooklyn. The irony of a veritable “queen of rock” helping the self-described “Ned Flanders singer-songwriter” was not lost on either of them. The final recordings were produced by Jonathan Seale and tracked at Mason Jar Music in Bed-Stuy.

Drawing from admiration for songwriters such as Bob Dylan, James Mercer, Jeff Tweedy, and Conor Oberst, the twelve songs that make up Invincible Things trace a line over the stark contours of change in Caleb Clardy’s life that have spanned the decade.

Clardy’s first single, “Keep Up” echos mid-2000s indie bands such as Cold War Kids, Clap Your Hands Say Yeah, and Modest Mouse. Meanwhile, the jangly call and response chorus in “Stoic World” exudes a spirit often found throughout the history of Americana-folk music. In his own words, Clardy says, “These songs have been spots to put a lot of the unresolved mixture of stuff that comes with people dying, or moving, or seeing your work change shape after 10 years, or confusion at how our country got where it is, or being generationally downstream from some real pain and dysfunction while still being somewhere upstream from where it all ends.”


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