In order to give the latest self-titled record by Clark all the praise that it’s due, I feel like I must first go back. Go back, perhaps to the very beginning and spend hours listening again. I’ve always enjoyed Chris Clark‘s flavor of idm-meets-techno with its glitchy synth-swirling roughness around the edges, hiding its musical fidelity and beauty beneath the many layers of delicious grime. I’ve been a fan since Clarence Park (2001), and Empty The Bones Of You (2003), since Body Riddle (2006) and especially since Turning Dragon (2008). Clark seemed to be unstoppable with Totems Flare (2009), and even with the gorgeous Iradelphic (2012) he could do no wrong. It also seemed that with the latter, Clark took a side-step from his atmospheric dark electro bruising beats, towards a somewhat organic, acoustic and vocal study – a turn that I have welcomed and highly praised.
With the self-titled Clark, the English electronic musician takes a...Read more
In order to give the latest self-titled record by Clark all the praise that it’s due, I feel like I must first go back. Go back, perhaps to the very beginning and spend hours listening again. I’ve always enjoyed Chris Clark‘s flavor of idm-meets-techno with its glitchy synth-swirling roughness around the edges, hiding its musical fidelity and beauty beneath the many layers of delicious grime. I’ve been a fan since Clarence Park (2001), and Empty The Bones Of You (2003), since Body Riddle (2006) and especially since Turning Dragon (2008). Clark seemed to be unstoppable with Totems Flare (2009), and even with the gorgeous Iradelphic (2012) he could do no wrong. It also seemed that with the latter, Clark took a side-step from his atmospheric dark electro bruising beats, towards a somewhat organic, acoustic and vocal study – a turn that I have welcomed and highly praised.With the self-titled Clark, the English electronic musician takes a...Read more