Chris Clark has worked with music and sound for 16 years. Signed at an early age to the British indie label Warp Records, he has to date released nine albums as well as a multitude of EPs and singles. His last studio album, the eponymously titled Clark, was rated as Best New Music by Pitchfork. It was followed by an intense and extensive worldwide tour of his blistering live show, which took in the festivals: Pitchfork Chicago, Movement Detroit, Melt Berlin, Field Day London, Taico Japan, Red Park Moscow, MoMA New York and Mutek Mexico, amongst many others.
2015 also saw Clark’s debut TV score for the BAFTA nominated mini series The Last Panthers. Starring British acting legend John Hurt with Samantha Morton and Tahar Rahim, it also featured title music from the late David Bowie. This year, eschewing the standard OST format, Clark released a meticulously crafted album also called The Last Panthers. Containing many reworked themes and fresh material from Panthers sessions, it coincided with the Sundance channel debut of the series in the USA.
Chris has collaborated with choreographer Melanie Lane on four contemporary dance projects including the performance of her solo project Tilted Fawn at the Sydney Opera House. Late in 2015 he composed the score for the theatre production Macbeth, directed by Carrie Cracknell and Lucy Guerin at The Young Vic Theatre, London. His most recent dance work was composing an original score for renowned Australian choreographer Antony Hamilton’s new work Sentinel for Skänes Dansteater in Mälmo, Sweden.
Chris’s extensive inventory of re-mixes for the likes of 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
Chris is the composer for Melanie Lane’s work for New Breed 2017, 30 Nov – 9 Dec at Carriageworks.