Over his past three records, Chris Clark has established himself both as one of electronic music's most restless and most consistent artists. Since 2006's breakthrough Body Riddle, he hasn't failed to deliver albums of divergent style and meticulous craftsmanship – whether rooted in complex IDM rhythms (Body Riddle), blisteringly futuristic tech-house (Turning Dragon) or genre-smashing electro-pop (2009's Totems Flare). Iradelphic maintains the winning streak with style.
His greatest departure yet, Iradelphic finds the British producer largely eschewing his fetish for manipulated rhythms in pursuit of processed texture and melody. Percussion is still present (and exquisite) but it's a component of Clark's compositions as opposed to their foundation. Observe Com Touch – a gorgeous, swirling, unpredictable synth-scape that doesn't develop a defined groove until the literal halfway point. Even when the producer does fall into old tricks (as on the squelchy, percolating The Pining Pt 2), his grooves are bolstered by truly sumptuous melody.
Those fearing Clark has mellowed needn't worry. Iradelphic is a less abrasive record – and folksy Secret (featuring Martina Topley Bird on vocals) is admittedly his poppiest number to date – but it's nevertheless daring, adventurous and beautiful music on par with all of his previous work. He's retained the unpredictable song structures of Totems Flare and the experimental sound design of Turning Dragon and Body Riddle. He's just recontextualised his breathtaking innovations within warmer, more accessible arenas.
In actuality, there's an argument to be made that Iradelphic is Clark's finest work to date. That said, with a catalogue such as his, such distinctions are ultimately quite arbitrary. Suffice it to say, Chris Clark has delivered another excellent piece of music.
