Here is the new album by Clark (aka Chris Clark). It is entitled Clark after his name. He's made some good records so far and is one of those electronic pioneers who sits just under the radar. This could elevate him further into the public's conciousness with its billowing post rave techno and textural experimentation. Never afraid to throw a piano piece in there or something wholly unusual amidst the electronic constructions. If it is as good as his last album 'Iradelphic' I'll be happy.
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It's about 3 quarters of the way through the year and Warp seem to be intent on spoiling all fans of bleepy nonsense music to the point of bankruptcy. As if mammoth releases by Aphex Twin, Flying Lotus, Eno & Hyde and Bibio weren't enough, they drop underrated UK electronic maestro Chris Clark's eponymous 7th LP on the 3rd November, and it's one hell of an album.
What is most apparent is the variety you'd expect from a modern techno/electronica LP: from the sound collage intro to the steady cool grooves with snarling basses, Clark has you trapped in his precisely crafted world, meandering around in between doing what he does best: delivering uptempo dancers with an atmospheric edge. Often with dancey albums the production is a little on the bare-bones side to cater for the club environment, but in this reviewers view that is bollocks. Clark delights by filling those spaces with walls of manipulated field recordings - at times walls of tissue paper, at others concrete slabs both exuberant and thrilling. It's like an updated Luke Vibert but with the acid replaced by deep ambient leanings, a feature which dominates 'Petroleum Tinged' and 'Ship Is Flooding'. But when the kicks enter, they really hit hard, like album highlight 'Banjo' - one of the grooviest heavy tunes I've heard for a while.
Clark's latest record is a resounding YES that will have you simultaneously boogieing and staring thoughtfully into space.
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