Mark Stewart has been recording under the Claro Intelecto moniker for a decade now, and every time he has a new record out we think its the best thing he's ever done.
This latest two-tracker really does make us wonder about Claro's recording process, he is an artist that seems so removed from the changes and trends emerging out of electronic music on an almost weekly basis, and yet something about his work always seems to subliminally reference the zeitgeist in his own inimitable way. The twelve opens with 'Back In The Day' - a slow and compressed House reduction making use of submerged strings and heavy kicks, it's a track that employs a filthy New York aesthetic with that distinctive, modified square bassline that's become a Claro signature over the years, but now somehow bent out of all recognition. As far as we're concerned - it's just an out and out dancefloor classic.
'New Life' on the flip is also wired for the floor, yet features skewed and euphoric chord sequences that evoke the hazy nostalgia of Ducktails or Oneohtrix Point Never re-imagined via tubular dancefloor machinations. It has that strange effect of driving peaktime activities without ever resorting to cheap thrills, evoking that same 1980's television haze refracted through the tubular machinations of 21st century club music.
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Mark Stewart has been recording under the Claro Intelecto moniker for a decade now, and every time he has a new record out we think its the best thing he's ever done.
This latest two-tracker really does make us wonder about Claro's recording process, he is an artist that seems so removed from the changes and trends emerging out of electronic music on an almost weekly basis, and yet something about his work always seems to subliminally reference the zeitgeist in his own inimitable way. The twelve opens with 'Back In The Day' - a slow and compressed House reduction making use of submerged strings and heavy kicks, it's a track that employs a filthy New York aesthetic with that distinctive, modified square bassline that's become a Claro signature over the years, but now somehow bent out of all recognition. As far as we're concerned - it's just an out and out dancefloor classic.
'New Life' on the flip is also wired for the floor, yet features skewed and euphoric chord sequences that evoke the hazy nostalgia of Ducktails or Oneohtrix Point Never re-imagined via tubular dancefloor machinations. It has that strange effect of driving peaktime activities without ever resorting to cheap thrills, evoking that same 1980's television haze refracted through the tubular machinations of 21st century club music.
Mark Stewart has been recording under the Claro Intelecto moniker for a decade now, and every time he has a new record out we think its the best thing he's ever done.
This latest two-tracker really does make us wonder about Claro's recording process, he is an artist that seems so removed from the changes and trends emerging out of electronic music on an almost weekly basis, and yet something about his work always seems to subliminally reference the zeitgeist in his own inimitable way. The twelve opens with 'Back In The Day' - a slow and compressed House reduction making use of submerged strings and heavy kicks, it's a track that employs a filthy New York aesthetic with that distinctive, modified square bassline that's become a Claro signature over the years, but now somehow bent out of all recognition. As far as we're concerned - it's just an out and out dancefloor classic.
'New Life' on the flip is also wired for the floor, yet features skewed and euphoric chord sequences that evoke the hazy nostalgia of Ducktails or Oneohtrix Point Never re-imagined via tubular dancefloor machinations. It has that strange effect of driving peaktime activities without ever resorting to cheap thrills, evoking that same 1980's television haze refracted through the tubular machinations of 21st century club music.