Musik / electronica

Playground in a lake


Anmeldelser (4)


Pitchfork

d. 25. mar. 2021

af

af

Patrick Fallon

d. 25. mar. 2021

"Following the recent turn toward acoustic instruments in his soundtrack work, the UK electronic polymath investigates neoclassical modes on an album inspired by climate change ... The whole of Playground in a Lake suffers from the flatness of its instrumentation and emotional range. Some of that seems intentional-such as the robotic vocals, self-playing pianos, and dusty strings-yet it's no less at odds with an existentially themed body of music".


Uncut

d. 26. mar. 2021

af

af

Sam Richards

d. 26. mar. 2021

"Playground In A Lake's confident auteurist sweep marks it out as more than just an electronica dude dabbling in neoclassical waters, or another one of those stylish but ideologically vague imaginary soundtracks. A drumless, dreamlike odyssey haunted by a childlike spirit, perhaps the only comparable work of recent times is Nick Cave And The Bad Seeds' Ghosteen. Clark might not have the tools to open you up emotionally to quite the same degree, but he's found an elegant and absorbing way to articulate the current mood of despair like few have managed so far. Here, as in all the best ghost stories, the scariest thing is what we're doing to ourselves".


musicOMH

d. 25. mar. 2021

af

af

Steven Johnson

d. 25. mar. 2021

"It's hard not to see Playground In A Lake as the most ambitious Clark release to date, an adventurous collision of different musical worlds that also carries an important underlying environmental message. It offers a bold pointer towards the future, both in terms of Clark's own ongoing musical journey and the broader fate of the planet".


Fono Forum

2021 April

af

af

Tilman Urbach

2021 April

"Schon die erste Einspielung von Christopher Clark sorgte auf dem legendären Label Warp Records für Furore. Seither experimentiert er mit elektronischen Klangwelten und schrieb zahlreiche Soundtracks für Filme. 'Playground in a Lake' entpuppt sich als Soundabenteuer, dessen Schall-Dystopie gewaltig ausfällt und jeglichen Staub von den Kalotten schüttelt. Hier und da ist ein akustisches Instrument auszunehmen, ein elegisches Cello zum Beispiel; eine Kinderstimme, ein verlorenes Glockenspiel ... Das Album ist ein einziger psychedelischer Traum!".