“I’ve had the title Death Peak since August 2016. It felt so right, I would repeat it to myself like a mantra. Death Peak Death Peak Death Peak. It starts gently, all meadows and butterflies and ends with you on top of this gnarly fearsome mountain peak, surveying a shattered landscape below”

Beauty through destruction…

Clark returns this spring with Death Peak. The album deftly weaves together the various threads of his extensive work, intertwining euphoric melodies and visceral rhythms of warehouse rave with newer vocal and choral elements.

Death Peak exposes the tension in Clark’s musical vocabulary “I love finding the fulcrum between opposites – I want my tracks to have sharp teeth, but you want to stroke them too. They sound ancient, but beamed in from the future, soft, corrosive”.

Album track ‘Peak Magnetic’ is a club-ready 4am affair – vigorous, singular, hard to define. As Clark explains “I wanted the kick to sound like some massive natural event, barely controlled, a boulder bouncing down a hill with birds tweeting around it. A complete mud-ball of a pulse that anchors everything to it through sheer mass. It makes me think of outdoor spring time raving”.

‘Catastrophe Anthem’ features the voices of a children’s choir eerily chanting the mantra, “We are your ancestors”. Clark has rarely used vocals before, but here every song has an element of human voice.

“Nearly all the tracks have some form of vocal recording on them. I only realised this late in the recording process. I get hypnotised by the human voice – the most perfect synth.

Vocals can be a bit of an awkward hat, that producers wear to try and get attention. Death Peak voices are the opposite of that. The vocal elements are just another instrument in the mix. It’s taken me awhile to get to this level of confidence with it.”

Recently he released a split 12-inch with label mates Mark Pritchard & Bibio and worked remixes with the likes of Nils Frahm and Max Richter. Significantly, Clark has turned his hand to scoring. He released the foreboding cinematic soundtrack to the 2016 BAFTA nominated Sky Atlantic series ‘The Last Panthers’ and composed a score for Macbeth at the Young Vic theatre. Late in 2016 he composed ‘Enter The Void’ for especially The Echo Society orchestra, conducted by Joe Trapanese (M83 & Daft Punk collaborator) and performed at the historic Ace Theatre, LA.

Clark signed to Warp in his late-teens. His studio sound has evolved and matured over two decades; although he would say he’s only just starting. His amorphous industrial noise has ever-grown and influenced producers, dancefloors and festivals around the world.

This year he will continue to tour, combining the contemporary dance choreography of frequent collaborator Melanie Lane with his customised rave bangers. This includes Clark’s biggest UK show to date at Brixton Electric.