I've heard it well over 500 times and I still love it to shreds" says Chris Clark of his latest longplayer, 'Body Riddle.' This is quite an encouraging statement since many artists who have just finished creating are eager to get away from the product of their intensive labor and devotion.
Perhaps it has to do with environment. "It was constructed in solitude, in an atmosphere of sober pedantry. The environment I work in is mostly stripped down, unadorned, functional" explains Clark.
Perhaps it has to do with attitude. "I don't take myself that seriously you understand. But please also understand that I take my work very, very seriously."
Regardless, 'Body Riddle' is sweeping piece of work, one that falls perfectly in an evolutionary line with Clark's past catalogue. The first of these, 'Clarence Park,' was written before Chris was even old enough for university. Although on its release in 2001 many lazily swept 'Clarence Park' under the blanket genre of IDM, the truth is that the album couldn't be further from the disaffected cleanliness that defines many of those records. A schizophrenic Rorschach rendering of an album, the album was at times instantly melodic, pummeling and intensely melancholic.
Whereas 'Clarence Park' was an encompassing kaleidoscope vision, 2003's 'Empty The Bones Of You' and its warning shot, the 'Ceramics Is The Bomb EP,' were deeply rhythmic and focused affairs. Taking the feeling of post-industrial music, infusing it with a sinister funkiness and then splintering the result into a spectral cloud, these releases along with 'Clarence Park' would create a powerful trinity.
Just as 'Ceramics Is The Bomb' lit a fuse for 'Empty The Bones Of You,' so did 'Throttle Furniture' earlier this year. A tough salvo of rhythm and melody, the limited and lauded short set made a perfect introduction for the scope and intensity of 'Body Riddle.'
Clark recently told another interviewer this of the new material:
"Yeah it's direct and punchy. I love it when you're thrown into a world of sound with no preparation. It's like when you're a kid and someone's on the second diving board and you stamp on it just as they're about to dive off, although obviously I was never that cruel as a child. I like the idea of people being forced to belly flop into my world."