Electronic musician (Chris) Clark is releasing tracks cut from his 2012 album Iradelphic as a free download. Grab ’em to help him avoid self-described solipsism.
Another year, another torrential downpour of albums across our desks. As always, we encountered way too much amazing music, from Meshuggah to The Mars Volta, Converge, Killer Mike, P.O.S, and many more.
Hot on the heels of his Iradelphic full-length in April, electronic maestro Clark is back at it with the Fantasm Planes EP, a six-track offering due 9/4/12 from Warp. On it, Clark debuts three brand-new cuts and three new takes on tracks from Iradelphic, the latter coming as a pseudo-recreation of his recent live setup.
The title track, heard below, is a progressive, classically tinged tune that is propelled by a throbbing, syncopated pulse and, later, a steady dance-floor beat.
English producer Chris Clark — otherwise simply known as Clark — is known for his colossal electronic compositions, more of which you can hear on his newest installment, Iradelphic. His unsettling video for “Black Stone,” however, showcases the album’s diversity.
Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.
Sahy Uhns: An Intolerant Disdain of Underlings (Proximal, 10/18/11)
Sahy Uhns: “Anticipation of the Night”
[audio:http://alarm-magazine.com/wp-content/uploads/2011/10/Sahy_Uhns_Anticipation_of_the_Night.mp3|titles=Sahy Uhns: “Anticipation of the Night”]Morrow: Sahy Uhns (pronounced “science”) is the solo moniker of electronic/hip-hop producer Carl Madison Burgin, whose debut CD comes as part of a 5″ x 5″ book with photographs of the California deserts. The deserts are said to have inspired the album, but the glitchy, beat-ridden sounds therein are more the soundtrack for robots break-dancing than cactus needles rustling in the wind.
Though at times it simply resembles another detailed IDM album, An Intolerant Disdain of Underlings stands out with highly melodic phrasings and nuanced differences in timbre. It’s a beautiful, danceable sound collage that’s good for the car or the dance floor, falling somewhere between the styles of Warp recording artists (Chris) Clark and Harmonic 313.