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Derek Hoffend. Ross Lockhart. Shu Zu. Visual basic. Andrew Macpherson. Too Much. Purchasable with gift card. Genre fans should know exactly what to expect with just a look at the snappy and somewhat creepy sleeve from Designers Republic: unsettling keyboard drones, thunderously deep slow-moving bass tones, and enough bizarre sound effects to keep listeners on their toes.
As Chris Clark isn't adding anything new to this particular style of music and melody is basically an afterthought, it's up to his arrangements to provide a unique atmosphere. Unfortunately, he doesn't have a mastery of pacing or sequencing, or he simply chose a somewhat bland blueprint for the album's layout.
From track to track, the music shifts through inspirations such as those mentioned above, drifts decidedly into ambient Seefeel territory for better or worse, and occasionally provokes an emotional response. The effect is such that one can't help but see Clark as a follower or mimic operating in a genre that's past its peak. James , Mike Paradinas , and Autechre have to struggle, and sometimes stumble, themselves to innovate and generate an audience, Empty the Bones of You brings to mind fond memories of days of electronica past, but fails to add anything new to the equation.
Still, with stronger material and a more adventurous scheme, Clark's obvious skills as an engineer and producer would most likely bear exquisite fruit. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. No track ever breaks past a comfortable mid-tempo.
Wolf, the album highlight comes closest, a dreamy synth line floats in and out of the mix, being routinely crushed by a brutal drum machine, possibly featuring a drill. The effect is not only exciting, but also refreshing. By this point, only track seven of fourteen, it's hard not to want someone to crush those pesky ambient waves once and for all.
This wish goes unfulfilled. Ceramics is the Bomb showed Clark's ability to deal with a more crazy-mad style with the standout track The Gavel. It's a telling sign that here, the track is reworked in an 'obliterated' state, which basically means the washy synths are amplified, and everything else is, er, obliterated.
The cover of Chris Clark's last album, 's celebrated Clarence Park , depicted a crystalline winterland, populated by a young boy in a knit hood. In contrast, the cover of this year's Empty the Bones of You is a pale figure thrust into a nightmarish spiral of skulls, spears, and oblivion.
I'm wagering that Chris has been to a couple of funerals in the last two years. While, contrary to what my first paragraph might suggest, I did actually listen to this album, the distinction is instructive. Clark's last album, while not a bad album by any means, struck many as standard-fare Warp, the type of guy you hear on a comp and then attribute to some better known artist. The sole innovation was Clark's segregation of moods; with a few exceptions, there were happy songs and sad songs, with very little in between.
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