CLARK is the electronica alter ego of Berlin-based experimental sound artist and multi-instrumentalist Boris Hauf since 2005 when he released his debut Clark album (originally on Sijis, re-released by Hauf’s label Shameless Rocks in 2016). «CLARK2» is more ambitious in its concept, scope, and instrumentation, lasting about 80 minutes. This album is released on Hauf’s label as a deluxe double LP on white vinyl (with download option). It is produced at an ECO-friendly factory with green, sustainable biomass driven technology and green power. Hauf promises only carbon-neutral shipping or delivering personally the LPs by bike or tram.
«CLARK2» began as a single LP with Hauf’s «notions of the terrestrial present an extraterrestrial future. It’s about digital natives born into climate collapse and automation, the degree to which we relinquish control to avoid work, and the future that lies ahead of us and our children». Hauf wanted that «CLARK2» pieces would radiate metaphysical, transitional, and phenomenological interactive dimensions. During Hauf correspondence with his graphic designer, Vancouver-based Julian Lars Gosper, this single LP kept growing, referred to the Covid-19 pandemic reality, and shaped in an epic and symphonic form and structure.
The opening piece «Island Destiny» emphasizes the epic, symphonic atmosphere of this album, referencing the extended, layered works of seminal seventies space-rock and early electronics artists like Tangerine Dream, Vangelis, and Peter Michael Hamel, but with an updated, minimalist touch and newer effects that color this piece with sparse, distant mechanical noises. The following pieces are shorter and employ the vintage, analog synthesizer qualities for creating the familiar repetitive, cyclical patterns, then mutating and shaping these basic celestial patterns, enhancing them by extensive usage of effects, often disturbed by subtle scratching, glitches that alter their moods (check the melancholic and pandemic-related «Can’t Get Jobs» and «Murmur», for example). The brief «Humans» (check the accompanying video-clips below created by Thomas Binder-Reisinger) and «Kastri» sound as informed by minimalist techno patterns while the song-like «A Place Not Infinite» corresponds with the eighties kind of heavy and grandiose synth school of Jean Michel Jarre (and Hauf already performed it before with different drummers). This celestial, addictive journey is concluded with the elegiac «Chaos Children», disturbed by urban, monotonous noises.
I hope you are well. Here’s a quick update on things.
It’s Bandcamp day again. The online platform I sell my music on is waving all it’s shares in favor of us musicians, hit by concert and touring cancellations due to you know what. So, in case you haven’t yet, but would like to, please go here check out my latest release CLARK2 . Double white LP release in beautiful gatefolded artwork by Julian Lars Gosper. Download comes with the crazy psychedelic and mind-altering videos by Thomas Binder-Reisinger. And this time I’m donating all proceeds to myself. http://shamelessrocks.bandcamp.com/album/clark2
In case you’d like more background info on CLARK2: I recently did a Q&A for the Italian zine Chain D.L.K: about how the album came to be, the track names, production techniques, the eco friendly promotion and production of the album, sequencing and of course the art work. I really appreciated the thoughtful questions. Q&A in it’s full glory is here or https://www.chaindlk.com/interviews/boris-hauf/
One last thing – shipping from EU to the USA at regular rates is impossible in the near future. It has something to do with Trump being president, USPS going nuts and something called covid-19. There is a stash of CLARK2s sitting in Chicago though. Soooo….
Recently released on his own label Shameless Productions, CLARK2 is the “longest, deeper and more epic” sequel of CLARK (released in 2005). Besides the hypotheses and the precise analysis by our collaborator Stuart Bruce, we decided to have a talk with this brilliant Berlin-based forger of thought-provoking and imagination-boosting electronic music.
Chain D.L.K.: Good morning, Boris! How are you? How are you spending these weird days?
Boris Hauf: Hi, thanks for the call. I‘m honored. Personally, I love being home and with the family. The slowing down of life, in general, is very welcome. Overall though, it’s pretty scary. It would be ideal if humans could learn from this experience: re-evaluating current healthcare and education systems, developing alternatives to capitalism and finally taking climate change more seriously, for instance.
Chain D.L.K.: You’re displaying some words and reviews on Clark that often quote dystopia. Do you think that your sound could stay with dystopia if you think we’re experiencing a dystopian world?
Boris Hauf: The concept of CLARK2 was about notions of the terrestrial present and extraterrestrial future. It’s about digital natives born into climate collapse and automation, the degree to which we relinquish control to avoid work, and the future that lies ahead of us and our children. The included layer of the pandemic reality is a timely addition. Titles and concept are all ante-corona. I come up with CLARK titles together with my Shameless companion, Julian Gosper, who lives and works in Vancouver and does all the Shameless artwork. Our claim is that a subtle nod in naming may create deep resonance with audiences.
Chain D.L.K.: Can you talk about the project Clark and how its second act related to the first act? Would you say it’s an enhancement, a sort of implementation, or what?
Boris Hauf: CLARK has been my electronica alter ego since 2005. So hopefully both enhancement and implementation. CLARK1 (Shameless, 2016) was a re-issue of a solo I made in 2005 for the UK label Sijis. My studio skills were different back then and so was the compositional focus. The 2016 remix, remaster, and re-titling were informed by fantasies of extraterrestrial pasts. Super weird fun fact: track #6 is called Corona. CLARK2 (2020) was recorded over a much longer time period, with different instruments in a different studio in different times.
Chain D.L.K.: ‘Island Destinity’…what a great opener! It looks like the rendering of some cosmic reverie. What did you have in mind while composing it? Any word about the equipment and settings you used to forge such an awesome suite?
Boris Hauf: Thanks! “Island Destinity” was the last track I composed for CLARK2. The album originally started off as a single LP. After spending some time with the finished tracks it felt like it was missing a counterweight…the first part. I was drawn to the idea of the opener being something epic and symphonic in form and structure. What makes the piece special in my ears is the breath and pacing. Mentally and emotionally, I redefined the already finished work as an LP2 of a double album and sent Julian an idea for an LP1. He started working away on the artwork. There was a lot of going back and forth between us. The music informed the artwork and vice versa. It’s always like that in our collaborations. Regarding equipment: Synths, samplers, and heaps of outboard effect boxes. In terms of production, I learned a lot from these past years as keyboarder and multi-instrumentalist for the legendary Austrian indie rock band Naked Lunch. Recording with and peeking over the shoulders of artists producing on that level has been very inspiring also for my own production techniques.
Chain D.L.K.: We can’t help but agree with the eco-friendly choices for the promotion of the album…are they somehow related to the concept of the album?
Boris Hauf: Yes, it’s a substantial part of the album concept. And, also the direction I am taking the label. If possible I deliver the LPs in person, by bike or tram. If not I’ll ship it eco-friendly, carbon neutral. I am very happy to have found a pressing plant that also works to these standards.
Chain D.L.K.: We know, and we appreciate you as a very polyhedral sound artist and musician! Which role would you assign to Clark and its sequel in your artistic growth?
Boris Hauf: Polyhedral, I like it. Thanks. As I mentioned before – CLARK is my electronica solo “persona”. It’s an essential part of my work and evolution as musician.
Chain D.L.K.: Both in Clark and Clark2, there’s a strong stylistic connection to evergreen glories of 70s electronic music knights as well as a strong conceptual hook to sci-fi sonorities…how do you relate to 70s electronics and sci-fi?
Boris Hauf: I love that stuff, in all its complexities as much as in its simplicities. Clark2 sounds even more like 70s electronica when you listen to it on vinyl. I was really pleasantly surprised by the similarities when I first heard the test pressings.
Chain D.L.K.: Besides ‘Island Destinity’, whose length justifies it covering the whole A-side, are there any grouping criteria of tracks for their placement on particular sides?
Boris Hauf: The sequencing is something I worked on in close collaboration with my amigo Max McCormick (also mentioned on the album cover). The idea was to create some type of unity with what we perceived as the three different layers going on in the tracks: 1. metaphysical 2. transitional 3. phenomenological interactive. Max wove the layers together in a pattern and we were both quite blown away by the sequence that emerged.
Chain D.L.K.: Is there any track that you reforged many times before the final editing? If so, why?
Boris Hauf: Almost 33% of the tracks were played as are and just needed some tweaking. 33% experienced some detailed production work and 33% were literally “reforged” (great word) – because they needed it.
Chain D.L.K.: The track entitled ‘Humans’ is the one richest in glitches… I guess it’s not a random choice! :)
Boris Hauf: :)
Chain D.L.K.: With regard to the match between sometimes weird titles and sonic content, what can you say of ‘Can’t Get Jobs’ or ‘A Palace Not Infinite’?
Boris Hauf: The path to matching titles and sonic content had various trajectories (construing titles with Julian and bouncing off his artwork, sequencing strategies together with Max, …) so it’s hard for me to say exactly how those two combinations came up.
Chain D.L.K.: Did you perform or are you going to perform Clark2 on live stages? If yes, are you thinking of some visual content as well?
Boris Hauf: I’ve performed “A Palace Not Infinite” many times on stage. Usually with guest musicians, always drummers. Steve Heather, Morton Olsen, Didi Kern, … to name a few.
I was invited to perform CLARK2 in its entirety at the 2020 Vienna Popfest. It would have been bombastic. Such a shame it can’t happen. The marvellous Katharina Ernst would have been my duo partner for that gig.
The other plan that fell through in summer 2020 was to tour Europe eco-friendly by train and only play house concerts at friend’s places.
Thomas Binder-Reisinger has made some wonderful videos for both CLARK releases, so I am planning to use them in live performances.
Chain D.L.K.: Any work in progress?
Boris Hauf: There are ideas for CLARK3, particularly in enhancing the collaborative aspects. But honestly, I find the whole Corona pandemic thing less inspiring than the tons of emails I get telling me that “now’s the time to be creative”. I’m really happy I had so many projects and releases lined up to help me stay focused and busy throughout this time of immobility, ’cause right now – I’m not feeling crazy creative…
Released mid (first) lockdown my latest full length double LP solo release has been getting a lot of love. thanks for all the support.
“Admirable excursion that contemplates half a century of electronics of terrestrial and sidereal environments in eighty minutes” – BlowUpMagazine
“If time looked like music, it could be close to Boris Hauf’s new album, CLARK2. The 12 titles are an immersion in a space suspended from the celestial arches of a universe larger than our imagination. – Roland Torres
“All this scratchin’ is making me glitch.” -Kevin Press
“It’s rare that a single album in one style can justify and maintain an 80-minute duration, especially one with such a minimalist approach as this has at times- but it’s a testament to the balance and control that’s been put into this that it really is worthy of it. It’s filmic and grandiose, yet never over the top. Brace yourself for a beautiful musical deep space science fiction adventure on this one.” – Stuart Bruce
The recent killings of and the ongoing state-sanctioned violence against people of colour in the US and around the world are horrific tragedies. This Juneteenth (June 19) Bandcamp will donate 100% of their share of sales to the NAACP Legal Defense Fund, a national organization that has a long history of effectively enacting racial justice and change through litigation, advocacy, and public education. Juneteenth is an American holiday commemorating the emancipation of the last remaining enslaved African Americans in 1865. Brent Gutzeit is releasing a compilation I’m very proud to be a part of. All proceeds go to BLM, NAACP and the Greater Chicago Food Depository.
line up: CASEY RICE, MICHAEL ZERANG, FRANCISCO MEIRINO, THEO KATSAOUNIS, BORIS HAUF (exspiro), DREKKA, PaVda (HAL RAMMEL/LINDA BINDER), MARC RIORDAN, OUR WRONGS (Kenny Sanderson/Adam Jennings), LEIF ELGGREN, AL MARGOLIS, KAREN CONSTANCE AND BLUE SPECTRUM, FIRE-TOOLZ, JESSE GOIN, EMIL BEAULIEAU, TV POW, DAVE REMPIS/TOMEKA REID/JOSH ABRAMS TRIO, DOLINE KARST, BEN VIDA, PBK, TV POW (Featuring Sharkula, Precise & Ben Carter), RAGLANI, NICK MAZZARELLA and TOMEKA REID, PAVLOS VAKALOS & NICOLAS MALEVITSIS, DARIN GRAY, PHARMAKUSTIK, K2 (Kimihide Kusafuka), TIJUANA HERCULES, CHRIS HERBERT, MATT LUX’S COMMUNICATION ARTS QUARTET, RAINBOW NOTHING (Plastic Crimewave/Andrew Paine), KEN VANDERMARK, JESSE KUDLER, GABIE STRONG, KEITH FULLERTON WHITMAN, WEASEL WALTER, JIM DORLING, IAN FRASER, SARAH HENNIES, BEN CARTER, , EMMETT KELLY (Cairo Gang), SIGTRYGGUR BERG SIGMARSSON, FRED LONBERG-HOLM, ZOOTS HOUSTON, CHRIS BROKAW, KATHERINE YOUNG, JASON ROEBKE, THE SINGLEMAN AFFAIR, BEN BILLINGTON (Quicksails), JIM BECKER, ANDREW SCOTT YOUNG, RYAN WEINSTEIN, GX JUPITER LARSEN, DAN FANDINO, RUNAR MAGNUSSON, TIM KINSELLA, PRECISE, J. SOLIDAY, JULIAN KIRSHNER, SIMON JOYNER, TIMOTHY RENNER (Stone Breath), DJ DOUGGPOUND, MYKEL BOYD, DREAS, CINCHEL, CHRIS POTTINGER, MICHAEL GENDREAU, VADIM SPRIKUT (Drowned), BENJAMIN, JEB BISHOP, FRED WELLS (I Kong Kult), NICK HOFFMAN, HEIKKI RUOKANGAS, MIKE BULLOCK, MATT SCHNEIDER (Moon Bros), SAM WAGSTER, BRIAN LABYCZ, KAZUYA ISHIGAMI, LASSE MARHAUG, JOSH ABRAMS, TODD MATTEI, BRENDAN MURRAY, CRANK STURGEON, AITIS BAND, KENDRA AMALIE, WILLIAM TYLER, JIM BAKER
Boris Hauf 2 white LPs in gatefold Music by Boris Hauf at Lost Collie, Berlin Mastered by Todd Carter at bel_Air, Chicago Design by Julian Lars Gosper, Vancouver Many thanks to Max McCormick Supported by ske-fond.at
“It’s rare that a single album in one style can justify and maintain an 80-minute duration, especially one with such a minimalist approach as this has at times- but it’s a testament to the balance and control that’s been put into this that it really is worthy of it. It’s filmic and grandiose, yet never over the top. It’s a modern take on the halcyon 70’s days of experimental electronic music, with a few fresh details, and it’s executed brilliantly.” – Stuart Bruce
“If time looked like music, it could be close to CLARK2. The 12 titles are an immersion in a space suspended from the celestial arches of a universe larger than our imagination.” – Roland Torres
“I don’t know, it makes my eyes hurt.” – Naima
CLARK2 is produced at an ECO friendly factory with green, sustainable bio-mass driven technology and green power. We offer carbon neutral shipping only or deliver our LPs in person by bike. No shrinkwrap. No physical promo.
BED (Michael Hartmann & Boris Hauf) T Shirt and download
composed, recorded, mixed, mastered, paid for by Michael Hartman & Boris Hauf T-shirt design by Julian Lars Gosper
Bed is Boris Hauf and Michael Hartman – Do Less More Often is the music they made. This music is about finding a path through the mundaneness of the day-to-day to create purpose and meaning. It is about finding a meaningful way to pass the time, making music with your friends. There are mostly synthesizers, there are subtle pulses and pounding beats, there are gentle drones and harsh noises, there is light and dark, and there is a way to stay connected across distance, time, and clutter. There is the optimism of family and friendship pushing against the cynicism of the oligarchy.
All proceeds from t-shirt sales minus bandcamp, paypal and shipping fees will be donated to The Greater Chicago Food Depository (Chicago sales) and Berliner Tafel e.V. (Berlin sales) to help feed people during these strange times.Our T-shirts printed on Next Level Apparel shirts which are produced environmentally friendly, and sweat-shop and child labor free.
I hope you and yours are all well in these intense and super weird times.
The idea was to release CLARK2 in late April 2020 and then travel through Europe to play house-concert type private record release shows. Well, that won’t happen. Still not sure how I’ll ‘present’ the record but will keep you updated via this channel.
In the mean time I have some wonderful videos to share with you over the next weeks. All by the amazing Thomas Binder-Reisinger.
Thanks for your time, Boris
““Mirrorism” has more than a shade of early Tangerine Dream about it, revelling in gradually unfolding analogue synth arpeggiations that are dizzying at first then blossom into a new calm- the sound of a composer with a great deal of understanding both technical and emotional.” – Stuart Bruce
Music: Boris Hauf Video: Thomas Binder-Reisinger
Album: CLARK2, Shameless Records, SHLP07 2 White Vinyl LPs in Gatefold Cover
In light of the dystopian humanitarian crisis in the Aegean region Shameless Records is releasing a benefit album.
All proceeds of this album go directly to the Greek NGO Infomobile, providing refugees with information concerning their rights in Greece and Europe. Infomobile offers legal advise through street work, printed guides and social media, and in individual cases strategic legal and humanitarian aid. They document human rights violations and publish reports to create awareness in the civil society, to increase political pressure for change and establish new tools for legal aid before authorities and courts.
To the European leaders we say: STOP THE BORDER DEATHS! STOP RACIST POLICIES AND VIOLENCE! OPEN THE BORDERS!
*GRENZEN AUF! – LEBEN RETTEN! – FASCHISMUS BEKÄMPFEN!* +++Verbreiten auf allen Kanälen+++
*Demonstration* Heute (3/3/2020) 18:00 Uhr vor dem Kanzler*innenamt mit anschließendem Protestmarsch
Wir schauen nicht zu, wenn Menschen zu Opfern von Tränengas, Schlagstöcken und Schüssen der Friedensnobelpreisträgerin EU werden! Wir sind gegen eine europäische Abschottung und fordern die Einhaltung der Menschenrechte! Seit der einseitigen Grenzöffnung durch die Türkei sitzen tausende Menschen in einem rechtslosen Niemandsland zwischen der griechischen und türkischen Grenze fest. Boote mit flüchteten Menschen werden in Griechenland von Rechtsradikalen am Anlegen gehindert. Geflüchtete, Helfer*innen, Politiker*innen und Journalist*innen werden auf griechischen Inseln von Rechtsradikalen attackiert. Zudem hat Griechenland das Asylrecht ausgesetzt.
*Wir treffen uns heute Abend, um zu zeigen, dass wir nicht bereit sind das zu akzeptieren! Wir lassen nicht zu, dass Menschen an der Festung Europa sterben.*
Wir fordern, dass die EU endlich Verantwortung übernimmt und flüchtende Menschen aufnimmt! Wir fordern, dass die 138 sicheren Häfen in Deutschland gehört werden! Wir fordern Horst Seehofer, das Innenministerium, Angela Merkel, die Bundesregierung und die EU auf: schützt Menschen statt Grenzen! Gemeinsam gegen den Faschismus!
FILM: 1984 | USA 1956| 90 minutes | Director: Michael Anderson
George Orwell wrote his visionary novel “1984” based on personal experiences with totalitarian systems. The 1956 film rendition appeared in the middle of the Cold War, not long after Orwell’s death. His widow sold the film rights to a film agent without realising that the agent’s employer was the CIA’s culture department!