We’ve been featuring material from this post-punk band
on our pages for a while now, at least since we first discovered them with the
release of “Dividing Line”, the lead single from their debut album “CL.1” in 2024, although the band has been around since
the summer of 2019.
Clone can be described as a supergroup led by LG Galleon, also the
frontman of Dead Leaf Echo. We had the chance to connect with him to talk about
this project, which is about to release a new EP, “Care To Try?”, on October 3rd through Little Cloud Records.
We’d like to thank Shameless Promotion PR for making this interview possible.
Hi, thank you for accepting this interview. To begin, If the player you
use to listen to music only had room for five songs from the band, which ones
would you choose?
Room of Tears, Resurrection, Still Life, Dividing Line, New Romance.
The concept of a “supergroup” is often related to members who come from other projects. Who makes up Clone?
Me, Alex, Avery, Paulie and sometimes Jeremy.
Many readers may not be familiar with your story. How and when was the band formed?
It was formed shortly before COVID by three close friends — me, Dom, and Dev — because we had a sense of impending doom and a sea change happening in our world. Sure enough, it came to pass, and we were brought together through laughter and music.
Often, when starting a project, there’s a need for a guiding light, a recognizable sound, a direction that marks the first steps. What was that direction for you in the beginning? And does it remain the same today?
The direction was the absolute collapse of our world on a spiritual level. By focusing on ego and money, there’s only one path — the destruction of self.
I would say that focus is even sharper now than before the band was formed, and sadly, there’s little sign of a turnaround.
"Clone - Resurrection"
Can you walk us through your discography so far?
“New Romance single/7” (2021), "S/T" EP (2022), "CL.1" (Debut LP, 2024) y "Care to Try?" EP (2025)
In every creative process there comes a moment when you need to decide the work is finished. What was that process like for this release?
Write the songs, rehearse the songs, then rehearse them again. Finally, record them and feel good about them. Then mix the tracks and realize everything you did was wrong (just kidding)… and eventually live with the decisions made in the moment.
You’ve worked once again with producer Martin Bisi, as you did on your previous release. What do you think Bisi brings to the band’s sound?
He brings a great set of ears, immense patience, and an incredible room sound to record your instruments in. Plus, countless fun stories about New York City’s past.
You’ve just released the single… Tell me about “Galvanized” and the new EP “Care to Try?”.
The second and main single is the title track, Care to Try?, a song written as a direct question to the new U.S. administration. One of the lines is, “This is your return… do you care to try?” With their second run, things just feel even more hopeless than before.
Vivimos tiempos de grandes avances tecnológicos. El mundo parece avanzar hacia su propia entropía y aquello que antes parecía ciencia ficción se convierte rápidamente en realidad. Hoy, por ejemplo, la IA está al alcance de una app en el celular. El arte siempre ha sido una salvación para el alma.
We’re living in a time of major technological shifts. The world seems to be moving toward its own entropy, and what once felt like dystopian science fiction is quickly becoming reality. Today, for example, AI is accessible through any phone app. Art has always been a refuge for the soul. How do you feel about these times when AI is presented as a substitute for creative processes? And what are your thoughts on songs generated with the voices of artists — some of whom have already passed away?
(This answer comes from both Avery and LG, who discussed it on the plane back from Canada during the festival.)
AI really depends on the context.
If AI is writing the song, then what’s your role? If it’s mimicking the songwriting process, what is the artist’s participation?
But when used as a tool, maybe it’s not so bad.
As a listener, though, why should we care about what a robot has to say? There’s a reason we care about the performer — because there’s a part of them in us.
"Clone - Dividing Line"
Politically, we’re facing a regression in ideas we once thought were behind us (just think of who is in power now: Trump in the U.S., Milei in Argentina). Europe is no exception. I always like to ask artists whether they believe art should be a political expression. What are your reflections on this?
This whole Clone project was born as a political expression and reaction to the politics around us — politics that constantly erode the rest of us, build up only the 1% with power and money, and, most importantly, strip resources from this planet.
You see more nationalist movements rising everywhere: Le Pen in France, Bolsonaro in Brazil… it’s everywhere. And you see more division than unity across the planet. The more interests we collect, the more fragmented we become.
We live in a highly visual era, where everything revolves around aesthetics (social media), but at the same time, we’re immersed in a culture of immediacy. How do you approach these aspects as a band?
Yes, it’s all very saddening. People aren’t really interacting with the world in front of them — they’re just playing within a matrix created by others in an attempt to control. I see many structures in our society as tools for one group to control another through socio-economic status.
What does 2025 look like for Clone?
We’ll go on tour to promote and celebrate the new EP. We’ll visit Canada for the Purple City Festival, then head to Boston, Clinton (CT), Providence (RI), Saratoga (NY), and Philadelphia (PA), plus one more Brooklyn show at Mama Tried on October 25 (daytime) to support the release. Hope to see you out there.
I want to sincerely thank you for your time and for the answers you’ve shared.
Thank you very much!
