Philadelphia-based producer Ill Clinton delivers an instrumental purge with Ragnarok, his new project released today on cassette.
With the opening strings reverberating chasmicly, listeners are instantly made aware of the sonic scope and depth that Ragnarok occupies. Clinton is in no rush here to convey his inspiration of the mythical lore that this project is steeped in. As a result, the sounds stretch expansively and naturally; drums erupt with their fall-out lingering well into the next hit, horns exhale until literal deflation, and synths drone panoramically above. It’s vastly ominous; something like the sparser moments of The Crow‘s film score.
On the more overtly rhythmic tracks, heads will hear some of Hip-Hop’s most heralded break-beats re-worked into something more meditative than head-nod inducing. It’s this apparent desire to bore deeper into the instruments potential to create mood where Ragnarok finds its major strengths. The sounds, moreso than the structural composition in general, are the stand-outs here. Audiophiles will lap up the electronic claps that sound like lashing powerlines, and piano keys that patter like rain in a midnight alley – again, think The Crow.