C L N K / ANTI
All music by C L N K
Artwork by Tamas Deszo
Error Broadcast Collective
All Rights Reserved
"There is a really important contrast between clarity and chaos throughout the whole EP, one moment you’re engulfed into an Orwellian nightmarish utopia, only to be landing on soft ground moments later with debris smashing around you."
"These are some of the most rugged, borderline-aggressive tracks we've heard from the Romanian producer."
"In CLNK's 'Fuck Hype' UK garage devolves back to the stone age in a fug of thuds."
"There’s a debris-like quality to the music that Romanian producer Silviu Badea makes as C L N K. Sounds crumble into one another, sending sonic artifacts sliding into the abyss."
"Lending to this techno take on a post-industrial sound, C L N K’s track, “Zombie Mechanic” is weighty and damaged, and yet possesses light at the end of the tunnel allure."
"C L N K forges a relentless assault of ominous sounds here, yet still finds space for miniscule traces of ambient sonics by way of extended synth pads which fill out the production's sweeping palette of tones."
"Retaliating against the mediocracy and moral decay, the track “Fuck Hype” is dark and dystopian, breaking open the core of any preconceived notions one holds against real techno."
Hot on the heels of his stellar LP debut Silviu Badea aka C L N K follows up with a grumpy, filthy five-tracker of mutant dance music. ‘ANTI’ finds the Romanian producer in a similar musical corner but the delivery is different. ‘Black Ecstasy’ was raw and erratic techno crossed with ambient music and tape hiss. The same holds true for ‘ANTI’ however the new EP showcases a more direct, if not aggressive vibe.
Opening track ‘Fuck Hype’ is probably a good example with its distorted synthesizers, stomping 4/4 beat, and hysterical strings. 808 snares and a mangy synth loop dominate ‘Zombie Mechanic’ while naïve synth pads and melodies on ‘We Are Mutants’ suggest a Kraftwerk influence that goes well with the bleak production aesthetics of C L N K. His strong leaning towards textural music is most evident with the subtle and unreal closing track, ‘Optimal Time’.
We are amazed to work with fellow Romanian photographer Tamas Deszo on the artwork. His ‘Notes For An Epilogue’ portraits a country in decay. Cover art shows a landfill near Aiud in Western Romania.
Track premier of 'Fuck Hype' at Big Up Magazine
Download 'Fuck Hype' from XLR8R
Track premier of 'Zombie Mechanic' at Line of Best Fit
Exclusive album stream at FADER
Big Up Magazine podcast and interview