The record rises and falls in an organic way, always with electronic soundscapes sneaking into the fore but with "real" sounds ever present too. Exceptional production and crafting of the music is evident throughout. The 3rd track, Springtime Epigram, marks the end of the beginning with a slow and calming 90 seconds. Herzog, follows on and slowly crescendos into a glitched and harsh but almost anthemic synthesizer led medley. It really draws you in, and sets up the listener the first really beat heavy and punchy tracks, Ted.
Clark's website. I like the "written" menu.The remaining six tracks take you on a musical journey that, to my ears, just feels right to listen to. With dark and bleak industrial sounds on tracks like Vengance, and the sinister title Matthew Unburdened is matched by a seemingly not-to-be trusted array of sounds. Haunting horns and magical beats at the end. Sporadic, uneven, but perfect.
Penultimate track Night Knuckles I think is one of those classic tracks that somebody is going to play to me in 20 years time and it will still do something special. This track is constantly in development throughout, almost like a variation on themes in classical music. Consistent throughout the track is another sweet "Tinkle" sound that blends blemish-free with the rhythmical elements and space-like background noises flesh the whole thing out. Its a stark contrast with the final track, which is a return to the darker, slower end of Clark's spectrum.
Really, very, good.
