Clark - Clark (Nov. 3rd 2014)

Everlane is too beautiful. It's like those haunting melodic Fennesz tracks but without the distortion and grain. It's kind of perfect.

I can't get over how bad ass banjo is

  On 11/4/2014 at 5:41 PM, jules said:

can't wait to listen to it this winter with snow all around. it's perfect for that.

I'm down with this assessment. Lots of crunch and rattle, most appropriate for wintry excursions.

After a listen and a half I can't say I'm that interested in listening again...

Crackin album.

Two thumbs up from me.

  On 11/5/2014 at 12:21 PM, jasondonervan said:

 

  On 11/4/2014 at 5:41 PM, jules said:

can't wait to listen to it this winter with snow all around. it's perfect for that.

 

I'm down with this assessment. Lots of crunch and rattle, most appropriate for wintry excursions.

 

well it sounds like we were right

  Quote

How did being in a cabin away from your home change your workflow?

Well, I was alone, and I'd get up early. Wake up at six and work 'til six. It wasn't that monastic. It wasn't like, [in a deep voice] the gong rings and now I channel! [laughs] It wasn't that romantic, but more like: get up, scratch your head, make loads of tea, get caffeinated, and just go. It was really rewarding.

And there was a race against the clock, as well. I didn't have to finish this year, but it was just an ideal time for [the record] to come out. It started sounding really wintery, and it became quite a theme. My manager told me that if I finished it by the end of July, we could get it out in November. And then I started thinking about people buying the record, and it would be really cold in Berlin and Europe around then, and that could feed into the vibe of the record. It was just so focused and concentrated, and I've never really written a record in that way before.

Not that impressed, but I was holding this album to clark standards. Not something I'll return to often but I thought it was a pretty decent listening adventure. Love the textures he uses, but this album had no real balls imo.

  On 11/4/2014 at 8:01 PM, Perezvon said:

  On 11/4/2014 at 7:43 PM, DorkingtonPugsly said:

I like how you can change Clark's face with the cardboard pics. Should try with one of a wheelchair

seems rather similar to album by clark's good friend/fellow warp artist bibio.

damn

lol!

Made me remember this

lold hard at this one. Ah these two...

Awesome release, on repeats since received it ! :-)

Is Clio acting that ridiculous just because Clark helped him sign with Warp? Is this all about ass licking? He makes me nauseous. I wouldn't mind some ass licking, mind you.

How dare two musicians enjoy and compliment each other's work.

  On 11/5/2014 at 10:47 PM, Friendly Foil said:

How dare two musicians enjoy and compliment each other's work.

This all about SYRO TROLLING.

Oh, and for someone who said that the album didn't sound like Jon Hopkins when I said it did, this is what Clark has to say about it:

How did that mindset play into the set-up you used on Clark?

Just endless processing in Ableton. Just freezing, printing, freezing that, printing that, re-pitching, transcribing that into sample libraries, bouncing that... I don't want this to sound too grandiose, but it will: If you think of an orchestra, that palette of sounds (first violin, second violin...), and how you would do that electronically, it's something I have to spend a lot of time with in order to transcribe sounds into different voices. Like on the new Jon Hopkins record [Immunity], he's kind of transcribed his tracks into a live instrument setting. I like the idea of music being fluid like that. It's more idea-based and form-based, instead of being dictated by any particular synth.

What the hell does "Clio" mean anyway

And, no Bibio hate here, cmon. The dude is brilliant and does shit for all the right reasons. One of the best Warp artists atm imo

I guessed it was the collision of Clark and Bibio to represent their affinity of one another, like 'Brangelina' and the other travesties come up with by the press

I prefer Bibilark, or just Blark, myself.

clio is also the muse of singing or playing greek guitarthingy

let's get it straight though, this album is killer

great album. great artist. dude's gonna be around for a while, i hope

came in the mail - first 3 tracks already better than iradelphic by a country mile

strength through fragility - i never knew i wanted to hear italo house piano on a baby grand, but apparently i do. wonderful.

every time you guys insult iradelphic, a dove in a wheelchair cries...

  On 11/5/2014 at 10:53 PM, trananhhung said:

 

  On 11/5/2014 at 10:47 PM, Friendly Foil said:

How dare two musicians enjoy and compliment each other's work.

 

This all about SYRO TROLLING.

 

there was a part of Clark's newest interview where he seems to take a direct stab at Syro, talking about electronic/synth sounds being dry on a recording, as if that was somehow a distinct cute and anachronistic trademark of sort of a mid period electronic music after people stopped splicing tape and running everything through spring reverb. I Dont know why but i felt like he was almost trying to represent himself as 'different' from Aphex because for a while he was mostly known as Warp's Aphex surrogate while aphex wasn't releasing for Warp.

in a way i love how dry sounding some of the tracks on Syro are, they are distinctly different from the current trend in electronic music which is to bury the shit out of and artificially dirty up sound layers in a song. Whereas 'dirty' 'bedroom' music of the past was born out of the shitty equipment and organic, now adays people take the reverse approach using guitar-amp and phony tube plugins to make an Abelton set sound like a 4-track recording from the 70s. and i'm not knocking that approach in a general sense, i think a lot of that stuff sounds great, Ben Frost comes to mind for example, but undeniably it is a 'trend' and for me personally I see dry sounds as something ultimately more timeless. Using tons of effects specifically can easily date a piece of music to a particular time period, intentionally or not.

edit: in general I've noticed a condescending vibe coming out of the mouths of a lot of musicians who maybe were heavily influenced by Aphex at one point but have now graduated to become well known in their own right. It seems like a combination of maybe having huge expectations for the new aphex and those not being met or maybe sort of to them 'proof' that Aphex isn't as 'amazing' as people hype him up to be, since for so long their own music would be seen in the shadow of Aphex, now that burden (at least in their mind) might be gone