Album Notes

A former university wrestler, music school dropout, oilfield roughneck, and road manager for Tegan and Sara, Mike Clark has managed to unfold himself into an expressive performing songwriter with honest lyrics and a knack for hooky melodics.
Due for Nationwide release on April 6th, his debut album, Darker Machines, co-produced with Futcher (The Be Good Tanyas), seamlessly switches from a hushed acoustic guitar to a Violent-Femmes-cum-Sonic-Youth fury and successfully proves his adeptness at both song craft and performance.
Joining a stable of artists at the Vancouver-based collective, Copperspine Records, Mike Clark exemplifies their stance for music with integrity and intelligence. Whether on stage, or as captured in the songs on this disc, the honesty and directness of Mike Clark's music is clear to all that hear it.

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FFWD RECORD REVIEW

MIKE CLARK
Darker Machines
Copperspine Records
* Proving that fusing country and rock doesn't have to be a bad thing.

When Mike Clark opens his album with a one-two beat, lap steel guitar and rimshots, you might want to write him off as just another alt-country type. Despite claims that he only has "four chords and some sad words," by the time the album gets to the epic rocker "Structures," he has already surpassed any expectations that the first track could give. When he turns on the distortion pedal - for the most longing chorus of the year - Clark ensures that you pay attention to the rest of the record. With smooth vocal melodies and restrained guitar work, he easily places him'self alongside Being There-era Wilco. Clark builds Darker Machines with such impressive tension and superior songwriting that when the children's choir joins in (yeah, I know what you're thinking, but trust me) you can't help but be won over. Making music that is so much more than roots rock, Clark does a valiant job resurrecting indie-rock and creating a layered and beautiful release at the same time.

4/5
JASON LEWIS

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MIKE CLARK Darker Machines (Copperspine/RED)This is smooth, shimmering indie rock with a bit of grit under the fingernails. Sometimes it's the performers with the most unassuming names that surprise the most. Vancouver's Mike Clark has created a collection of songs that flow like shoe-gazing pop ("Built The War"), yet incorporates some folk and blues elements ("Sick Of You") and soft touches of pedal steel and piano with "Down," before the driving Mystery Machines-esque "Broke Glass" veers back into indie territory. Clark's voice is reminiscent of Matt Mays gentled down a bit. He's a storytelling troubadour with a keen sense of melody and a maddeningly addictive sound.

Shannon Whibbs