Para quem tem o programa Real Audio, ouça um trechinho de Wonder If The Snow Will Settle, do Clearlake e se apaixone. o cd "Cedars" traz 11 canções que refletem sobre morte, remorso, mas com um certo humor, carregado de melodias pungentes e riqueza de intrumentos. " Whats the point in worrying how well things will turn out. Why spoil the surprise. You know it won't live up to your expectations and then you'll wonder why. And I wonder if the snow will settle on the ground this year? I wonder whether losing you was such a good idea. I can't seem to remember last time it snowed around. And I wonder if the snow will settle on the ground this year."

Como disse esse crítico aí embaixo:
One of roughly a thousand awesome things about Cedars is that the band never rests on one particular style or sound. Songs like "I'd Like to Hurt You," "The Mind is Evil," and "It's All Too Much" find effectiveness in subversive propositions, while "Come Into the Darkness" and "Can't Feel a Thing" just flat-out rock. No, this isn't metal, and drummer James Butcher doesn't appear to have a double kick, but Clearlake puts the "power" back into the term power chord. "Come Into the Darkness" opens with a handful of loud drum slams before exploding into a sloppy and joyous blast of fast-paced guitar noise, while "Can't Feel a Thing" sounds a little like Oasis might if they didn't suck so much. Of course, even on the faster songs Clearlake knows when to pull back for a touch of introspection; the album is fantastically dynamic that way, rarely allowing even one track to remain tonally consistent throughout its running time.
As opening songs to brilliant albums go, "Almost the Same" is curiously flat – clearly influenced by 80s Brit-rock and deeply endearing, but not nearly as powerful as most of what follows it. But it still works nicely as an overture for Cedars, if only because it presents the album's fast-paced melancholy in the most accessible of packages. Predictably, the less-approachable songs are more effective in the long run, like the pitch-black "Keep Smiling," which wants to incite a riot without ever even touching the distortion pedals: "Just nod your head and act accordingly / and do the opposite of anything they tell you to." I tell you, Cedars is full of a freakish number of wonderful moments like this.
As thoroughly fantastic as the album is, its median high doesn't even approach the album's thematic and musical centerpiece, "Treat Yourself with Kindness." It opens slowly with odd clusters of picked guitar harmonics; a straightforward drum riff enters, giving the ghostly melodic suggestions a form. Pegg's beautifully-harmonized voice then joins in the alarmingly dire mix: "So much to live up to / you've been punishing yourself for far too long / I've seen you treat yourself / in ways you'd never treat another." Then, it detonates: an ineffably powerful wash of guitars and drums, the best aspects of rock music unhindered by pretensions or delusions of grandeur. Clearlake's approach is refreshingly proportional to their relative popularity, and yet the experience of listening to Cedars is immensely and personally powerful.
Once or twice a year I uncover an album as wonderful as this, a record that simply transcends the time and place in which it was made and talks to me, directly, without interference or influence. Cedars is an album that could be popular if listeners decided that immaculate production and verse-chorus-verse structures aren't as valuable as they seem, that live instruments harness more passion than expensive pre-programmed computers, that expert songwriting is more important than expert airbrushing.
Leia mais aqui:
Clearlake review.