Death Peak
Chris Clark’s ninth album of adventurous electronica draws on most of the genres he’s experimented with over his career—often within one song. “Hoova” turns sharply from industrial techno to joyous trance to celestial ambience in just five minutes, while the bass of “Peak Magnetic” groans through birdsong and glimmering euphoria like tectonic plates shifting beneath a dawn rave. It works because Clark constantly arranges the noise into spellbinding patterns that settle just long enough to pull you in before his next idea arrives.
As a mainstay of Warp Records, Clark returns with a more accessible, more human album that still reinforces his outré techno dreams and arpeggiated fantasies.
You can’t overlook the voice of Dan Bejar, a nasal yowl that has a captivating way of meandering around a melody, often scrambling its way toward the end of a lyric as his tongue shoehorns more words between the remaining beats. But you might miss what an important service that voice provides to the first six albums…
Following a literal interpretation of its title, the range of these nine songs move like a long uphill climb, with feathery…
Death Peak arrived just over a year after Clark's somber score for the British crime drama TV series The Last Panthers, and it's hard not to hear it as an equal and opposite reaction.
There's a lovable yin and yang to Chris Clark's sonic din, a mashup of lament and lullaby. The lurking chaos on Death Peak, and indeed every...
A Warp mainstay, Clark returns to the label with a nine-track barrage of industrial experimentalism. Employing a dense rack of synths, the opening tracks
Clark's been making music on the Warp label for the best part of 20 years, but he may have hit on his best work yet with new LP 'Death Peak'.