When you start to dissect the long and winding road that is the Clem Snide biography, it all traces back to Barzelay’s voice. It isn’t your traditional singing voice. It has a whine pitch that is more about emotional exhaustion than it is weakness. It’s equal parts River Cuomo’s sarcasm, Daniel Johnston’s sadness and Mark Oliver Everett’s attention to detail. For a time, it was also the most recognizable voice in a small indie circle defined by recognizable voices. Clem Snide was able to glide between genres like pop and alt-county with relative ease. It was the kind of voice that you would hear through the doors of dormitories and on the far end of music dials. Truly, it had the potential to be the voice of a decade. popmatters
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