Clark revs up the first Throttle Records release with E.C.S.T. T.R.A.X., a double A-side 12” that finds him colliding music from centuries past with sounds from the future. Both tracks open the door wide to echo new modes of production for Clark by joining the dots between two great forms of the avant-garde: Rave and Musique concrète.

Kicking off with Harpsichord Ecst, a track that bestows the original rave hoovers, Clark shoots off a frenetic, rapid-fire outburst that’s driven by the instrument, forging a sound that is characterized as anything other than Clark music. Its peak time 'ed rush is perfectly framed by the use of Clark’s own vocals, which are reminiscent of both Meredith Monk’s ‘Vessel Suite’ and Arthur Russell. Perfectly pitching it, our man explains, “It could sound prancingly medieval, but I kind of took a blow torch to it, and made it something totally different”.

Piano Ecst meanwhile sets out to search and destroy piano hardcore, built around a single broken chord, weaved into a stroboscopic digital tapestry of flute flutters, tuned sirens, whirrs and jitters. Although inspired as much by classical/orchestral and avant garde greats, as dance music, the titles multiple meanings nod to Clark’s foundation in and continued love for rave culture, but also to far older forms of revelry, and a church-like atmosphere of religious rapture, which is clearly audible in these ecclesiastic style pieces.

This fully fired up, within the abstract, effervescent, yet psychedelic electronic sound makes it clear that Throttle Records is a sure-fire one to watch.