Instead of bearing this load until the inevitable, I'm sharing these with you. Two I wrote recently, and one I didn’t, and one that’s about me, and two that aren’t. All of them flirt with mortality, maybe? Two of my newer songs, one of someone else's less-new song, all recorded with old friends. Live guitar and vocals, with solos and harmonies and other stuff added here and there.

Borne to death? No thanks. Dropping these while I’m alive. Thanks for listening.

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Recorded and mixed at The Loft, Wilco’s recording studio and practice space in Chicago, by Mark Greenberg (The Coctails, Eleventh Dream Day, Smog, Nora O’Connor, Archer Prewitt, etc.). Featuring Greenberg on drums, bass, and keys, and Alianna Kalaba (Cat Power, FACS) on drums. Mastered for digital at Chicago’s legendary Women’s Steam Room by Clark’s White/Light bandmate Jeremy Lemos (Sonic Youth, Jim O’Rourke, Smog, Stereolab, etc.).

Exclusively on Bandcamp until further notice.

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A BRIEF BIO:

Matt Clark is a Chicago-based singer-songwriter and guitar player. He spent his formative years in Joan of Arc, and was a founding member of Pinebender, White/Light, Love of Everything, and Ambulette; he is also a longtime musical contributor to This American Life. He has collaborated with Kim Gordon, Joss Whedon, Leroy Bach, Disappears, Steve Shelley, Robert Aiki Aubrey Lowe/Lichens, Plastic Crimewave's Vision Celestial Guitarkestra, and Rhys Chatham's Crimson Grail, and performed at The Cartier Foundation, Museum of Contemporary Art Chicago, The Logan Center for the Arts, Oprah, and Lollapalooza. Clark has received* two Grammys.

*His old roommate won them, and Clark signed for the delivery. RECEIVED. TWO. GRAMMYS.

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Some old kind words from Bandcamp:
Matt Clark's "Impossible Lows" awarded BEST EXPERIMENTAL MUSIC ON BANDCAMP: MAY 2019, by Marc Masters:

"To make his first full-length album, Chicago guitarist Matt Clark—a former member of Joan of Arc and Pinebender—spent 10 days recording first takes and sticking with them. The result, 'Impossible Lows,' doesn’t feel like a sketchbook, but rather a thought-out series of instrumental statements with firm moods and self-contained environments. It’s also sonically diverse; Clark is capable of delicate avant-folk, thickened drones, extended riffs, and more. Most compelling is the eight-minute odyssey “Zola Mae,” which opens with gentle, distant tones, and gradually builds into a thatch of noise guitar that sounds like it’s being broadcast through a faulty transistor radio. Such textural variety seems to come naturally to Clark, giving 'Impossible Lows' the kind of durability that rewards repeat plays."