Clark
Chris Clark is a visionary and pioneer in the electronic music scene, don't miss him live at CCA Glasgow on Thursday 21st November!
About Clark
| 21st November 2024 | |
| 7pm | |
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Centre for Contemporary Arts Glasgow 350 Sauchiehall Street, Glasgow City Centre G2 3JD |
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£22 + BF Find Tickets |
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| Visit the event website here | |
Chris Clark – a visionary and pioneer in the electronic music scene – has spent over two decades crafting a series of sonic odysseys, driven by an unquenchable ambition to continually push the boundaries of his craft. From his groundbreaking 2001 debut, “Clarence Park,” Clark’s work has been characterised by glowering techno, brittle piano pieces, eerie folktronics, and found sounds – always delivering something new and unexpected. His journey in electronic music is marked by a relentless pursuit of innovation, seamlessly blending intricate rhythms with evocative melodies.
Clark’s long-standing relationship with Warp Records has been pivotal in his career. Signing with the influential label in the early 2000s, Clark has released numerous critically acclaimed albums under their banner. Warp Records, known for its roster of groundbreaking electronic artists, provided a platform for Clark to explore and innovate. His releases, including “Body Riddle,”, “Turning Dragon”, “Totems Flare,” and “Death Peak,” cemented his reputation as an artist at the forefront of electronic music, blending intricate rhythms with evocative melodies. Over time, Clark’s release methods evolved, and he now releases music under his own imprint, Throttle Records. Notable releases on Throttle Records include soundtrack album “Kiri Variations” and most recently the album “Sus Dog”, mentored and featuring Thom Yorke. “Cave Dog” followed as a companion piece and an album of two halves – one beat-driven and stripped, and one more spacious, dreamy, and intimate.
As predicted by his younger self, Clark has recently metamorphosed into a celebrated composer for TV and film. Self-taught in piano, cello, and drums, his evolution reflects a logical progression in his relentless pursuit of musical excellence. His contributions to prestigious labels like Deutsche Grammophon and critically acclaimed soundtracks such as “Daniel Isn’t Real” exemplify his masterful integration of acoustic and electronic elements.
In the mid-1990s, Clark’s passion for rave music, both its sound and production process, fuelled his disciplined approach to electronic music. This dedication is evident across nine studio albums, numerous remixes, and four soundtracks. His shift towards collaboration, showcased in his Deutsche Grammophon album “Playground In A Lake,” includes contributions from notable artists like Oliver Coates, Rakhi Singh, and Chris Taylor, enhancing his dynamic soundscapes.
Clark’s collaborative efforts have reinvigorated his creative process, contrasting with the solitary nature of his early work. Recording with ensembles in Budapest and Berlin and in world-renowned studios Abbey Road and Air Studios in London, he emphasises precision and clarity, especially in his soundtrack compositions.
Known for his meticulous sound design, Clark’s projects range from bedroom experimentations to dance scores for award-winning choreographer Melanie Lane. His work continues to evolve, always exploring new territories. Clark hints at a future return to heavier, ravier music, maintaining his love for risk-taking and innovation, underscoring his status as a trailblazer in electronic music.
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