Deep into his career on Warp Records, UK’s Chris Clark is still surprising. “Death Peak” continues his long streak of placing sound-art leaning material over a strong sense of rhythmic drive, but in terms of sheer length of songs this is his most ambitious project to date and the album’s early techno-induced numbers make for a new connotation to his sound. The drama at the end of the work is huge to say the least with giant, shimmering stabs and Pink Floyd child-choirs coming into play as pulsing tracks bleed into one another, but the album holds onto fun dance-ability for the whole front half. There’s a great deal of variety in the project and the logical march from light to mean makes it digestible and addicting.
Clark alludes to the violence that will inhabit the end of his project in the ominous first track. After sparse melodies in a light, metallic texture, larger melodic motions start to inhibit the space with frightening vocals pushing towards a dark sonic landscape. Although the next two tracks spend a lot more time on light-hearted material, this opening track helps prepare the taste buds for what’s to come.
“Butterfly Prowler” follows with a bouncy synth melody that remains in the equation throughout as the surroundings change color about 50 times. Vocal pops on the twos and fours add a quirky dance vibe, before throbbing echoes add a dark smolder to the middle of the track. “Peak Magnetic” picks up where “Prowler” left off with more jolting energy, this time a looping keyboard line remaining central throughout.
The album never has a moment where a song isn’t logically incorporated, but “Hoova” certainly heralds in a shift in mood. The tracks very first moment is a big industrial explosion before relentless percussive noise takes over for the front-half of the track. However, whereas songs like “Slap Drones” or “Catastrophe Anthem” only rev-up the storm, “Hoova” strives for a bit of a different ending. Around the four minute mark, the song takes a turn to the atmospheric with soaring melodies and delicate vocals making for a break from the chaos.
“Slap Drones” is driving from the very beginning, but not in a completely violent manner. Light shades of snare sound open before an abstract but club-worthy beat sets in. Around the last 20 seconds of the track, the pummeling industrial sound is all-encompassing but again, Clark showcases an example of momentary clarity within the hectic intensity of the back half of his record, which makes his ploy into violence dynamic and palletable. The album continues to amp things up for the next few tracks until the last number, “Un U.K,” offers a 10-minute reprisal of sorts of the path of energy on the whole album.
Clark is never one to offer an uninteresting project, but “Death Peak” is certainly an important work that utilizes his previously explored sonic talents while showcasing his ability to shine in the six to ten-minute long track format. As he nears the second decade of his career behind the boards, it’s clear that his ambition is still strong and his talents are enough to execute his plans.