Two years after their last release, the UK’s own Porridge Radio return with Clouds in the Sky They Will Always Be There for Me; an introspective and emotionally charged offering that demonstrates the band’s growth both lyrically and sonically. The album, out this Friday, is as much a testament to Dana Margolin’s evolution as a songwriter as it is to the band’s ability to create emotionally immersive landscapes. Known for their achingly raw lyricism, Clouds in the Sky keeps that momentum alive, blending poetic song writing with expansive instrumentation, thanks in large part to engineer Dom Monks, who captured the album’s raw energy live. There’s a melancholic theme that washes over every track, and it can admittedly blend together. However, the albums ability to surprise with unexpected gems and a lot of heart makes each track worth waiting for. So let’s get into it.
Track by Track Review: Clouds in the Sky They Will Always Be There for Me
“Anybody”
Opening with the haunting and ethereal refrain “I don’t know anybody else, don’t want to know, anybody else,” Clouds in the Sky kicks off with “Anybody”, a slow build of emotional intensity. The track mirrors the sensation of an emotional unravelling, as the song swells in sweetly before descending into a frenetic crescendo. Margolin’s vocals capture the frustration and desire to disappear and escape the worlds gaze. The crazy mess escaping from the speakers over the lines “tried to reach you, tried to reach you” is a perfect introduction to the album, setting the tone for what’s to come—vulnerability and intensity.
“A Hole in the Ground”
With rolling drums and a melodic tinkering motif, “A Hole in the Ground” continues the album’s moody exploration of uncertainty. Dana Margolin described it as a song about being trapped in a haunted fairy-tale, constantly running from an inevitable tragic ending. The lyrics weave an intricate picture, and while the song maintains a steady pace, it begs for a bigger, more anthemic push to match the lyrical weight. Despite this, the track’s melancholic undertones and underlying tension paired with its driving beat are both haunting, beautiful and quite catchy.
“Lavender, Raspberries” + “God of Everything Else”
“Lavender, Raspberries” stands out as one of the album’s most unrelenting and energetically intense tracks. It feels less like a traditional song and more like an audible therapy session, where the music mirrors Margolin’s emotional onslaught. Moments of tenderness mix with a frantic build that escalates as her delivery becomes more panicked and quickened, culminating in a cathartic crescendo of noise and volume that feels like a pressure valve being released. In contrast, “God of Everything Else” opens tenderly with strings and a deeply introspective line: “I’ve been trying to forgive myself for wanting to be someone else.” The vulnerability is raw and palpable, and serves as a showcase of the bands ability to match, emotion, narrative and tone.
“Sleeptalker” + “You Will Come Home”
The jazzy piano opening of “Sleeptalker” is a welcome genre shift, adding a fresh layer to the album. As the track builds, gritty guitars enter, and the song transforms into a chaotic yet thrilling mash of sounds. Margolin’s voice may occasionally get lost in the mix, but that only adds to the unrelenting rhythm that drives the track forward. The band have a knack for hypnotic repetition, and often suck you into a void where you appear on the other end of a song no where near your starting place, and this is one of them. “You Will Come Home” offers another standout moment, with its upbeat shift and swinging time signature providing a hypnotic, almost trance-like experience. Margolin’s lyrics remain as sharp as ever, with the repeated phrase “I will do anything, to see it again” lingering in my head long after the song ends.
“Wednesday” + “In A Dream I’m A Painting”
“Wednesday” is a masterclass in slow build. The song begins with Margolin’s delicate vocals and a sparse guitar before gradually adding layers of warbling keyboards and drums. With slapback cowboy-esque guitars and marching beat drums, the accompanied heartache in Margolin’s voice is exceptional. It’s a slow burn, but the building expectation and payoff make it one of the album’s musical highlights. “In A Dream I’m A Painting” leans into the more ethereal side of Porridge Radio, with a dreamy atmosphere that envelops the listener. However, the song’s sonic shifts feel less pronounced, and it risks blending into the album’s more melancholic soundscapes, though it retains a certain hypnotic quality.
“I Get Lost” + “Pieces of Heaven”
“I Get Lost” is a breath of fresh air, offering a change of pace with its vocal count in, sunny acoustic guitar and lighter tone. The intertwining of vocals and keyboards creates a warm, almost carefree vibe, making it a standout track despite its brief 2:30 runtime. In contrast, “Pieces of Heaven” plays with fingerpicked guitars and flutes, adding another layer of sonic experimentation. However, its melancholic tone falls in line with the rest of the album, which, while cathartic, does occasionally feel overbearing as the runtime stretches on.
“Sick of the Blues”
As the album’s closer and single, “Sick of the Blues” is a wonderful finale. Opening with the line “I’m sick of the blues, I’m in love with my life again,” accompanied by restrained giggles and vocal warbles, it serves as a hard-earned reprieve from the heavier moments on the album. The message of rediscovering joy and self-love is refreshing, and Margolin’s desperate, impassioned vocals add a raw edge to the song, making it a perfect send-off.
Final Thoughts
With Clouds in the Sky They Will Always Be There for Me, Porridge Radio takes bold strides in separating themselves from their previous work. The album is a well crafted journey of emotional vulnerability and introspection, with Margolin’s lyrics acting as the guide. The album’s tone can feel overwhelming at times, as each elongated melancholic poem flows on. Understandably, it’s a deliberate choice that reflects the band’s muse, but also evolution and maturity. Fans will find plenty to love, and the record’s emotional depth will likely resonate with many. For those that it doesn’t I think the singles still have plenty of appeal, though the album might be a stretch.
That said, there are moments where production feels like it could have pushed further, with some tracks staying in familiar territory rather than taking the risks hinted at in earlier moments. Being all live recorded there isn’t as much production magic to sprinkle, but it never feels dull. Nevertheless, Clouds in the Sky is a testament to the band’s growth, proving that Porridge Radio is not content to rest on their laurels but continues to push their sound and storytelling forward.
In sum, Clouds in the Sky They Will Always Be There for Me is ultimately a mood piece. If it clicks you’ll find yourself in for a very personal experience and an album that will sit with you long after the final note fades. And when you’re sick of the blues, Porridge Radio will always be there for you.
THREE AND A HALF STARS (OUT OF FIVE)
Clouds in the Sky They Will Always Be There for Me is out this Friday. Grab it HERE
Header image credit: Steve Gullick
