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Death Peak

Christopher Clark’s last album, ‘Clark’ was a masterclass in bringing the outside in; through his intricate sampling and crushing techno workouts the Warp producer splintered fragments of the icy weather into a full-length. Three years later and ‘Death Peak’ is similarly informed by nature — but aimed at Spring (“springtime raving”, in his own words). There’s all of Clark’s signature heavily processing of sounds, erratic techno lines that zip about, and glitched out synths that blindside you out of nowhere before disappearing instantly, but on ‘Death Peak’ he’s using vocals more to shape and manipulate as an instrument. There’s moments of sheer beauty (the harpsichord line on ‘Aftermath’) as well as monolithic drums (which sit next to a cheesy, distorted EDM synth on ‘Hoova’). You can always expect the unexpected with Clark, and, when it’s all done this beautifully, what more could you possibly want? Felicity Martin