Artwork is by the Designers Republic, a stunning contrast to their more well known work, and truly representative of some of the industrial, gothic elements in much of Chris' music.
Empty The Bones Of You Microsite
Chris released his debut album Clarence Park back in 2001, which went on to become one of the highlights of the year. The schizoid contrast of roughed-up beats and big strident melodies found favour amongst Warp fans everywhere on both sides of the atlantic.
Since then the two sides to Chris's music making character have duelled it out over a couple of years, while his name has spread amongst music afficionados to create a devoted worldwide audience. Throughout finishing his degree in Bristol, moving to Brighton and now settling in Birmingham, Chris has been endlessly honing and perfecting tracks, not to mention playing live on a regular basis - traversing Europe and the US on the Warp Magic Bus tours in 2002, hitting the US again in early 2003, Triptych in Scotland and launching the new Logarhythm UK live collective in May with a two week tour of the UK with Mira Calix.
The first new output from Chris Clark arrived in May in the shape of the ‘Ceramics is the Bomb’ EP in May 2003. A 6 track blitz that received bounteous praise, and support from the increasing number of converted DJs and radio shows.
"a dazzling mix of Nintendo soul, Warped acid and fragile neo-classical electronica… Joyful, twisted, forward-thinking… this is essential" 8/10 NME
Chris has this to say about the Album and the EP:
"These are the last melodic tracks I will ever make, I wanted them to say everything about melodic electronic music I could possibly want. It’s the album to end them all!
"I wanted the album to be kind of less flash then my old work. Rather than tons of edits I put the microscope onto the most tiny details of sound. I got pretty obsessive like on The Sun Too Slow. I listened to it looping for about 4 hours and was (still am) convinced it was the mightiest sine tone in the world. Early Moss was wicked to make as well. I finished that on this feckin' amazing spring day in Brighton. It is such an old track but it seemed to get more encrusted with found-sound as time went on.
"I think it’s quite a domestic, easy to listen to album. Yeah, it’s house trained! It’s not that hard on the ears. There are no big dancefloor tracks or hard aggressive tracks. But it sounds totally like me, I reckon. I’ve listened to these tracks so much, I wanted it to be full of contradictions (violent/affable bleak/optimistic weighty/light etc) but kind of unified as well.
I was pretty cruel on myself. I picked the tracks from an archive of about 30 and then deconstructed and re-assembled them until I was sure of their worth. I love doing this, putting the cold eye on your tracks and being a bit callous with the puppets strings as it were. It's got to be pure hard graft."