
Melbourne-based and multi-talented Clio Rennerās debut album Nothing Breaks, Nothing Mends is out and making waves.
The pianist, vocalist and songwriter has produced an impressive collection of alternative indie-pop tracks that delve into the truth of Rennerās life right now, exploring her thoughts, inner-dialogue and the people in her life.
Having worked with a slew of Australiaās most notable acts, including Angus and Julia Stone, Bob Evans and Alex Lahey, Rennerās abilities have been well realised over the years. The release of Nothing Breaks, Nothing Mends affirms this, cementing her talents in musical archive form, with Renner centre stage.
Downbeat pop and sombre track āSilly Girlsā sees Renner combine beautiful layered harmonies with her own heartening thoughts āDarling keep those eyes dry, weāre here to lend a hand/ Now Iām coming down from where you think you have meā.
Meanwhile the albumās namesake track āNothing Breaks Nothing Mendsā mixes gospel-like backing vocals with hypnotic drumbeats, giving a perfect taster for what else is in store.
Heralding eleven songs with stand-outs like āLosing Timeā and the beautiful, āCollideā, Nothing Breaks, Nothing Mends is Renner firmly emerging from the shadows as her own musician.
Read on as Clio Renner takes us through her track-by-track songwriting and recording experience.
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Prelude
I wanted there to be something thematic across the record, because stylistically it can get āconfusingā at times. The last song on the album, which Iāll get to, is the basis of that theme. There are interludes between songs that hint at the chord progression, and this opening prelude is another interpretation of that piece, written and performed by Xani Colac. She based her composition off these weird scratchy loops, which I loved, and ended up using at the end of the record too. The idea is that you can play the album on a loop and it sounds continuous.
Nothing Breaks Nothing Mends
Iād been playing this song with the band for about a year before we recorded it, which sort of made it difficult to approach from a production mind-set. You know, I used to just play what felt right in the moment. Thereās something reminiscently early 2000ās about this and I canāt put my fingers on what it is. The syncopated synth and guitar part in the verse for some reason takes me there. Brianās reverse guitar solo is a ripper, I donāt know how he managed to follow the harmonic progression so well, thinking backward. The portamento moog lines are pretty silly ā I just didnāt want the album to start too grimly, it gets there by the end.
Silly Girls
This was the first single from the album, and I got to record the whole thing at Sing Sing Recoding Studios which was great. Thereās a song-writing faux-pas at the end, in that the last chorus doesnāt have a lead melody, itās just block harmony. I like the big choral sound. Itās a bit heartening, and brings in the key change with a kick. It was really nice to have Hannah Cameron sing BVs on this, weāve done a lot together musically over the years.
Collide
A song about avoiding all things confrontational! Lawrence Folvig co-produced and played a lot on this song. The layered guitars are extraordinary, and the bass line pokes out at times in such a flirty way. A few of the BVs were inspired by Alison Krauss and Robert Plant, from their record āRaising Sandā, a real favourite of mine.
Monumental
I have a friend who is a bit stuck in her life, and canāt seem to move forward in some basic human ways. I feel desperate for her as she lives with a lot of fear. This song is a wish for her way out. Vibe we were going for here was Crowded House āInto Temptationā, and Lawrenceās baritone guitar intro still makes me cry.
Slow Burn
āI figured youād make no one else bright eyed⦒ is one of my favourite lyrics on the album. Though the story isnāt written from my perspective, I think the sentiment we can all tap into- feeling left behind. Block harmonies are again, a strong focus and work well, I think, against the fragile lead vocal delivery. Brianās contribution to the BV parts across the record bring an incredible depth.
Losing Time
This song is a very frustrated inner dialogue about just being ok, bear whatās there and āturn to the grinā. The demo was very piano led, hinting at Fiona Apple aggression, and I love how we took Tamara Murphyās bass line and made that the main riff for the guitars too. Itās wild. Lawrenceās guitar/organy soundscapes that ebb and flow throughout are also magic.
My imagination was really holding onto the idea that the harmonies in the bridge should sound like those wobbly choirs from old musicals, or Disney films. I thought we could use a Chamberlin to create something similar, but it ended up just sounding better au natural. As things often do.
She Plays Music
Another song writing faux-pas in this, rhyming a word with the same word. But itās kind of what I was going for! The sound of the harmonium is quite refreshing, because itās so acoustic compared to the rest of the record. The introduction gives the listener a space to breathe, and also hints, once again, at the theme of the record harmonically. I donāt think anyone would pick that up on first listen. The song is basically about not feeling like youāre good enough, but getting on with it anyway.
To the Wind
I think this is my favourite song on the album, and the last one written too. Brian co-produced, and we spent a bit of time getting it right. Unlike the other tracks, I didnāt actually have a reference point, so really we were working from scratch. Treading the line constantly between gritty, but not taking it away from pop realm. The layered moog and guitars almost chant the bass part, thereās something grounding about it. And the collection of BVs at the end are really exciting!
Keep Her Steady
This one was produced right in the middle of lockdown, Brian says he can remember the smell of the room at the time. I think that will be this year for so many of us, our memories marked so tangibly. Like the harmonium, the acoustic guitar part brings a warming acoustic timbre, and the introduction just feels settled, or something. It definitely has a āCarrie and Lowellā flavour.
Taking Words from Peoplesā Mouths that Donāt Belong to Me
I set myself a challenge to write something through-composed, which means to have no repeated sections. It was cool to not have to think about a hook or a riff or something that a listener needs, and it allowed me access to better lyrics.
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Nothing Breaks, Nothing Mends is out now and can be purchased HERE
You can connect with Clio Renner on Facebook and Instagram