Chris Clark has worked with music and sound for twenty years. Signed at an early age to legendary British indie label Warp Records, he has to date released eleven albums as well as a multitude of EPs and singles. His last studio album, ‘Death Peak’ was accompanied by an incandescent live show with dancers choreographed by frequent collaborator Melanie Lane. Toured extensively, it headlined stages world wide.
Following his 2015 debut score for Sky / Canal+ TV series ‘The Last Panthers’ (John Hurt / Samantha Morton, dir: Johan Renck, written: Jack Thorne), he scored ‘Rellik’ for BBC1 / HBO (Richard Lancaster dir: Sam Miller, written: Harry & Jack Williams) and breakout Channel 4 / Hulu drama ‘Kiri’ (Sarah Lancashire, dir: Euros Lynn, written by Jack Thorne).
Recently he scored ‘Daniel Isn’t Real’ (Patrick Schwarzenegger, Miles Robbins, dir. Adam Mortimer) a psychological horror feature film by Spectre Vision, producers of cult Nick Cage hit ‘Mandy’. The OST is released by Deutsche Grammophon. Currently, Clark is collaborating with Pablo Larrain (Jackie) to create the score for Stephen King's new Apple TV series, Lisey's Story, which is being produced by J.J. Abram's Bad Robot.
Chris has collaborated with choreographer Melanie Lane, scoring no less than eleven contemporary dance projects including the performance of her solo project ‘Tilted Fawn’ at the Sydney Opera House and most recently ‘Personal Effigies’ which won the Kier Choreographic Prize in March 2018 and ‘WOOF’ for the prestigious Sydney Dance Company. Chris’ extensive inventory of re-mixes for the likes of Thom Yorke, Massive Attack, Depeche Mode, Max Richter, Battles and Nils Frahm were collected in 2013 on the ‘Feast / Beast’ double album.
“What’s always set Clark apart is his eclecticism, dynamism, and flair for the dramatic... His tracks don’t drop as much as they slip or swerve... He’ll end a techno album with eight minutes of beatless, sky-cracking ecstasy and it will make sense. He’s allergic to the idea of standard sounds and presets. And unlike many of his more insular peers, Clark can be open to sentimentality — not schmaltz — as much as a belief in humanness and all its inexact wonder. In electronic music’s never-ending battle between man and machine, he’s seeking a third way.” - Pitchfork
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