-CLARK [WARP]-
https://soundcloud.com/throttleclark
http://warprecords.com
Chris Clark refuses to conform. The Warp Records mainstay has coloured outside the lines throughout his illustrious career, resisting the increasingly regimented and compartmentalised electronic music world with productions that bounce between genres with boundless energy, beholden to nothing but his own restless creativity. Across six albums, seven EPs, and innumerable singles and remixes, Clark has emphasized versatility above all, forging a sound that has incorporated innumerable strands of party-starting techno, abrasive electronics, somber piano tunes, and haphazard electro without ever obscuring the emotional truth at the core of all his productions. Clark's music affirms an utterly human presence within a cold electronic world, and his forthcoming 4 x LP remix compilation Feast / Beast is a snapshot of one of electronic music's renowned talents at his most playful and diverse.
Clark has kept busy since releasing Iradelphic in 2012, an album that glowed with meditative intensity and asserted the breadth of his abilities both on and off the dance floor. Iradelphic was a mostly techno-free surprise to many fans, but it reflected both Clark's musical history (the first track on debut album Clarence Park was a beat-less piano song) and the necessary patience acquired after years sifting through his prodigious output. "I work quickly and on average record about an hours worth of material every day" says Clark. "But as time has gone on I find that I favour practices that slow certain editing and decision making processes down. This purposeful path of most resistance is a rare trait within an increasingly disposable musical culture
"I prefer to spend a longtime deliberating on sound sources, and they tend to vary greatly. Slowing the selection process down makes your decisions more rigorous, it sort of enhances the 'Eureka' moment you get when you nail it."
Fans of Iradelphic took notice, ranging from Thom Yorke, who opened his BBC Essential Mix with 'The Pining Pt1' to the BBC 6 Music Breakfast Show, which chose "Secret" as a Single of the Week. For fans of his older material, Iradelphic also coincided with the re-release of Clarence Park, Clark's debut album on Warp at the ripe age of 21, that still proves pregnant with tension and studied restraint.
The new collection Feast / Beast was conceived more than two years ago and the final product ably captures Clark's fidgety past and his expansive future, including twelve brand new remixes of big room acts like Nathan Fake, Barker & Baumecker and The Beige Lasers. It's a broad collection that manages to maintain a sense of cohesion and reflects Clark's own opinions on such compilations. "I find that remix collections tend to tread on a straight path," he says. "Quite often I hear a remix compilation and you can sense the formula. They get stagnant two- thirds of the way through simply because some people can only write club remixes. This is pretty out-there and exploratory material." Feast / Beast captures Clark at his most somber and volcanic, whether on the foreboding float of Silverman's 'Cantstandtherain', re-shaping Depeche Mode's industrial churn on 'Freestate', or adding an analogue stampede to Health's 'Die Slow'. Exploring dichotomies between downtempo piano excursions and boiling techno, it's a wholly individual work in which years of honed talent bursts through every measure.
"There's a fine line between earnestness and sincerity" says Clark. "The music I like doesn't have to be sentimental, but you can truly feel when an artist is committed and the music is a clear representation of how it exists in their head."
Feast / Beast is a collection of lullabies, concentrated noise and transportive melancholy, and the eclectic source material reflects both Clark's own creative transience and the fans he's won amongst contemporary futurists, collagists, and kindred spirits. Clark has shared stages with Portishead, Drexciya, Jeff Mills, Tortoise and Beach House, as well as remixing Massive Attack, Friendly Fires and Kuedo, giving him a superlative slate of diverse admirers not confined to any one particular genre.
All the ambiguities, conflicts, and abstraction of electronic music allow for complete emotional freedom, and Clark finds avenues for that revelation not only in his recorded works but in his famously inventive and improvised live shows. Chris got his first taste of the power of live performance while he was a teenager in his hometown St. Albans, London: "I used to go to parties, hijack the stereo, and turn my tracks up loud...I lost a few friends along the way, but gained quite a few, too." His performances have evolved in depth and breadth since, recently adding visual complexity with the help of visual artist Vincent Oliver and a creating a more focused sonic narrative from his coterie of beloved analog gear. Encompassing swirls of psychedelia, fire-and-brimstone techno, and all manner of explosive experimentation, Clark's live sets are crowd-pleasing affairs that have brought him around the world, from Japan to the belly of the Berghain in his current base of Berlin, as well as festivals such as Mutek and Decibel and noted parties like Low End Theory. Touring the world with this modular setup has only increased Clark's creative drive to deliver bigger and better live experiences. "We had the idea to fly quadcopters low over the crowd" he said, "but that might take a while to sort out..."Of course, a creative mind as capable as Clark's wouldn't be satisfied only existing in sweaty nightclubs. He's responsible for the stark and atonal score of Melanie Lane's dance piece 'Tilted Fawn' culminating with a week of sell-out performances at the Sydney Opera House in 2012. The collaboration with Lane continued with 'Shrine' a dance performance installation that recently debuted in Berlin. "I've come to recognize the pivot between various subconscious impulses that pull you in different directions and yet all feed each other," says Clark. "What I did for Melanie Lane was extremely dense and cold, but when combined with her visual language, became inviting, enveloping." It's this kind of addictive hypnotism that Clark pursues with all of his music, whether scoring avant-garde dance pieces or moving dance floors worldwide. Clark has grown from precociously talented artist to esteemed musical polyglot without ever sacrificing the unique versatility that has sustained his vibrant career. "The more you explore one part, the more you breed an appetite to explore the other parts," says Clark. "It's like a controlled experiment in polarised extremes. There is an under current that links it all though."
His ongoing creative process and future plans reflect an innate sense of the restlessness of the human condition that shines through in his work with propulsive and emotional singularity. "Music is always an imperfect facsimile of your original idea," says Clark. Yet despite this, Clark's music remains continually entrancing, incendiary, and utterly human.
-OCTO OCTA [100% Silk]-
https://soundcloud.com/octoocta
Brooklyn-based artist Michael Morrison making house/tech electronic
music. Michael has been releasing mainly house music as Octo Octa on 100% Silk since 2011.
-SLAVA [Software]-
http://soundcloud.com/slava
http://www.softwarelabel.net/
Slava is a musician and visual artist currently residing in Brooklyn, NY. Born in Moscow, he has spent a significant number of years in Chicago where he co-founded Moment Sound Recordings and played an active role in the city’s electronic music community. He has been performing live since 2003 (usually using nothing more than a few Korg Electribes) and has shared the bill with Convextion, Traxx, Robert Armani among many others. His music has been released on Future Times and Software Recordings and has been featured on Mathematics Recordings and !K7 compilations. Slava’s visual work explores the convergence of real and virtual space through augmented reality iPhone apps, web-based platforms, physical installations and is becoming an integral part of live shows.
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