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Spencer Clark’s duology of paintings-turned-soundtracks trades the sci-fi mysticism of the original Abductions for something grittier: two long-form pieces that sound like they were recorded in a museum after hours, all washy synth layers and phantom percussion groaning underneath. John Also Bennett’s flute on the second track arrives like a visitor to an alien diorama. It’s patient, textural work—less ‘shred’ than the tags suggest, more Pauline Oliveros watching a slideshow through frosted glass.
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A sequel to 2011's communication from our future selves on 'The Spectacle of Light Abductions', this new endeavour by restless netherzone traveller Spencer Clark envisions a space map towards the other side of human life.
A meditation on the paintings of Vedran Kopljar, these two side-long pieces, recorded and performed at Kopljar's exhibition at Muhka Museum in Antwerp in 2024, tap into the barren world inhabited by Clark while wandering what he calls the "Abomination Plateaus".
Searching for meaning amidst the landscape, 'Abyssfields' turns Clark's keyboards, sampler and wha pedals into sentient beings, roaming a luminous sound field of low res percussion, glistening keys and mangled voice-like transmissions. Featuring Athens-based John Also Bennet on flute, 'Abomination Plateaus' layered misty pads hover above a recurring driving-pinging loop, unlocking new harmonic spectres throughout each passage, suspended in the light. Always enveloping.
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