Clark’s latest album “Kiri Variations” elaborates on and develops themes that he made for the British tv show Kiri. In parts it does sound more like an OST then a traditionally tailored album but this doesn’t stop Clark from showing his incredible qualities as a producer and sound designer.

As you may well know I’m a sucker for synth pads and “Flask / Abyss” doesn’t disappoint. Warm warbling synthesis with slow attack and releases drift into and out of the track like waves. Bobbing on top of these waves is the light melody that only lasts briefly before the mood of the piece plunges into deeper darker territory.

Clark continues to make music that sounds lush vibrant and unique. His production is some of the best in electronic music. Pushing elements of sound design to new places without sacrificing quality in composition and production. “Kiri Variations” takes this in a more minimal and ambient direction but if you want something more dance floor orientated I would highly recommend his self titled album:

Bandcamp:

TOTW playlist:

Clarks ability to blend his unique style based around sound design with the traditional electronic dance genre make him one of my favorites in modern electronica.

Butterfly Prowler with its fidgeting synth melody and vocal samples that shift between pad and percussive elements create something that works both in the club and on headphones.

Spotify:

TOTW Playlist:

Clarks latest album Death Peak is clearly influenced by his previous two releases the self titled album which focused on strong dance elements and his previous sound track album The last Panthers which focused more on creating atmospheric backgrounds for picture.

On Death Peak we see both at play. Large soundscapes mix with rhythmic drums and his rip roaring bass design to create an album that exemplifies his current direction. On Peak Magnetic these two worlds are blended together to create my favorite track from the work as synthetic elements are blended with vocal samples and strong rhythms to create a track that rests somewhere between the dance floor and the headphone listener. Just over halfway into the track an all encompassing bass synth rips its way through, devouring all the percussive elements and returning the track to its initial instrumentation. It’s a great demonstration of the sound Clark has been developing over the the last few albums and a perfect place to start:

Spotify:

TOTW Playlist:

This new piece by Clark reminds me of the Aphex twins ambient works which is no bad thing. Although a solo piece the sound of the piano has been carefully tailored and treated to sound floaty and spacious yet at the same time have an intimacy that allows the tracks construction to connect emotionally:

youtube:

Spotify (Omni Vignette):

Spotify (TOTW playlist):

I have been listening to the eponymous album by Clark allot more than I originally thought I would on first listen. With its blend of floor filling dance with complex and creative sound design Clark manages to cover all bases and Winter Linn is a perfect example and one of my favourites.

This track gets the album running after an intro that feels like the album stretching its muscles. Large synth lines with big reverbs and heavy side chain compression is the name of the game on this piece and it sounds epic. Then somehow at the 45 second mark you get hit over the head with a synth line that is close to filtered noise and it just keeps getting bigger from there.

This is Chris Clarks seventh album and you can tell as the experience shines through, If you want to hear some top shelf modern dance music listen to this and then do yourself a favour and pick up the album: