{"id":311661,"date":"2025-11-22T17:05:24","date_gmt":"2025-11-22T17:05:24","guid":{"rendered":"https:\/\/peraltafinancing.com\/ambient-music\/interview-with-clark-headphone-commute\/"},"modified":"2025-11-22T17:05:24","modified_gmt":"2025-11-22T17:05:24","slug":"interview-with-clark-headphone-commute","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=311661","title":{"rendered":"Interview with Clark | Headphone Commute"},"content":{"rendered":"


\n<\/p>\n

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That sense of directness has been in your work since the beginning, right?<\/strong><\/em>
Yeah, and it\u2019s something I\u2019ve come to appreciate more. It doesn\u2019t make the process easier, though. It\u2019s actually harder to cut things down to the right size. I improvise a lot, and only a small fraction ever gets released. Maybe one fifteenth of what I make. The irony is often that the shorter the track is, the more work it takes to get there. I might jam for ten minutes and then spend weeks deciding which two minutes to keep. It\u2019s like editing film \u2013 you fall in love with certain takes, but the final cut has to move with intent.<\/p>\n

I think that you mentioned \u201cNo Pills U\u201d being written in only twenty minutes.<\/strong><\/em>
Yeah, it was just one of those moments where the track writes itself. There was this feedback loop running from a tape delay on the Virus synth. I loved the tone of it. I recorded about an hour of it. The idea came instantly, but it took months of resistance, just listening to it on repeat, to not overwork it. Keeping a two-minute track at two minutes can be harder than stretching it to ten. It\u2019s a sad happy piece of music. Like it\u2019s almost impossibly happy and blissful. Music like that makes me sad for some reason, in a good way. I had the idea of it being for someone who had chronically used loads of ecstasy and depleted themselves, was depressed, in a hole, like you don\u2019t need that. Give it up. No Pills U.<\/p>\n

Let\u2019s talk about the Virus! It\u2019s all over this record.<\/strong><\/em>
Totally. My friend Robin Fox runs this place in Melbourne called MESS, the Melbourne Electronic Sound Studio. It\u2019s a huge synth workshop. You pay a small fee and can use anything you want \u2013 Moogs, Buchlas, modular rigs. In the corner was this battered Virus. It looked like the Millennium Falcon in repair mode. It\u2019s not analog, not from the revered \u201970s era, just a \u201990s digital synth. But when I turned it on, the first patch I played became the riff for \u201cBlowtorch Thimble.\u201d That was literally the first sound I made on it. I kinda knew I had an album on my hands. When I got back to the UK, I bought one \u2013 all the presets were different, so I had to rebuild them by ear. It\u2019s got this peculiar grit. Mine clips on certain notes. Annoying to mix, but beautiful. The onboard distortion and EQ are brutal and slightly unpredictable, which was quite new at the time. It\u2019s got this digital steppiness to it \u2013 but warmth, you fall into the sound \u2013 a quality that modern soft synths just can\u2019t do without a ton of tedious work, and it still kinda sounds like plastic surgery. I actually want to sell it now \u2013 I don\u2019t like getting too attached to gear. I want each instrument to have its season and then move on.<\/p>\n

You also used a real piano tuned to 18 notes per octave.<\/strong><\/em>
Yeah, 18EDO. Mental. I\u2019m friends with a piano tuner named Angus Donald. He\u2019s a total microtonal don! He\u2019s written papers on it, he\u2019s fully in there. But I got involved myself. It\u2019s easier if you convert the piano to a single string per note with a Papps Wedge or a long mute. It\u2019s a bit of a \u201cunicorn\u201d piano, although we christened it \u201cthe cyber spider.\u201d It makes tuning simpler and the tone purer, less of that beating resonance. The thing about 18EDO is that it sounds subtly wrong until you clock the logic behind it. The minor third becomes a major second; only a few chords sound traditionally nice. But it\u2019s great for gamelan-like runs, very fast, very fluid. It\u2019s not the typical \u201cout-of-tune\u201d chaos; it\u2019s precise, uncanny. It makes your ears perk up a bit.<\/p>\n<\/div>\n

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\n

Tell me about Throttle Records. Why release Steep Stims yourself?<\/strong><\/em>
Freedom, mostly. When I release through Throttle, I can put something out when I want, how I want. I run it with my manager, Greg Eden \u2014 he actually signed me to Warp years ago. We thought about approaching other labels, but honestly, it didn\u2019t make sense. The royalty splits are better this way, and I avoid the whole promise-of-a-campaign thing that doesn\u2019t always materialize. Throttle\u2019s been growing naturally. The more we release, the stronger it gets. I\u2019ve started signing other artists, too. My friend Mike Jefford just released an EP called Laguna Seca<\/em>, which I\u2019m really proud of. As for the aesthetic, it\u2019s not a minimal techno label or a purely dance label. It\u2019s just stuff Greg and I love: electronic music that feels alive.<\/p>\n

You\u2019ve moved through so many phases \u2014 IDM, techno, orchestral work, and even songwriting on Sus Dog \u2014 but there\u2019s always something unmistakably \u201cClark.\u201d<\/strong><\/em>
That\u2019s kind, thanks. Honestly, I think I\u2019m rewriting the same ten tracks over and over. There\u2019s always a piano one, a techno one, a jungle one, a hip-hop one, a more interesting synth\/acoustic harmony one, one with piano and drums, etc. My range isn\u2019t that wide, ffs! It\u2019s a vocabulary. I see piano and synths as part of the same continuum. People chase new patches endlessly, and like to have a pop at what they see as tradition, but really, piano is in it for the long haul. Maybe I\u2019m wrong, maybe school kids will be whistling atonal Max\/MSP patches in 13\/5 in 400 years, but I\u2019m hedging my bets. It\u2019s like getting bored of fruit and veg or water, and saying hey why eat that, don\u2019t you know HUEL exists now. It\u2019s a tension, though \u2013 there\u2019s also a lot of nonsense in the whole muso \u201creal music\u201d world. \u201cReal Music Played By Real People For Real People\u201d, it can get a bit blokey, a bit campaign for real ale. The spaces in-between, unresolved questions, that\u2019s what I\u2019m interested in, I guess. I also have an addiction to novelty\/mental sounds.\u00a0Sometimes I play my piano in digital mode on headphones, and I forget it\u2019s digital. Your brain kinda fills in the gaps. Work that one out, hehe. The simulation can feel more real than real. Maybe the problem is when you play the piano, it feels like you\u2019re pulling stuff out of thin air, it FEELS alive, you feel connected. But for the 2025 listener, it can often sound scripted because of its embedded history. They just hear \u201coh, it\u2019s more piano\u201d. I still love it though. In general, electronic music is so good, though, the best \u2013 it challenged all that stuff around the feelings\/ego of the athletic performer. Artists could take a backseat and develop much more taste\/ and imagination, more like a director mindset than an actor.<\/p>\n

Has scoring for film changed how you approach your albums?<\/strong><\/em>
Not consciously, but it\u2019s taught me a lot about recording and collaboration. Working on films, you have to speak in emotional terms, not technical ones. Directors will talk about a character\u2019s trauma or redemption arc, and you\u2019re thinking about whether you even wanna add reverb. So you learn to translate that emotion into sound. It also forces you to work fast. You might send off a cue you love, and they hate it. After thirty cues, you stop taking it personally. You just write another one. I\u2019ll sometimes do ten pieces in five hours for a film. It\u2019s liberating because the pressure shifts: it\u2019s not about \u201cyour masterpiece,\u201d it\u2019s about problem-solving, it all sort of sharpens your wits \u2013 feeds into the mind-grist mill. It all feeds into albums-you don\u2019t take writing studio albums for granted \u2013 I can\u2019t imagine the inertia of doing nothing but solo studio albums into my forties. It freshens the context, you realise what it IS more.<\/p>\n<\/div>\n

\"\"<\/div>\n
\n

Have you explored AI in your music-making process?<\/strong><\/em>
Only out of curiosity. Most of it leaves me cold. The whole \u201cJohnny Cash sings Kanye over a Mozart beat\u201d thing, that\u2019s fast-food AI. It\u2019s like ketchup sachets. Quantitatively successful but of no nutritional value whatsoever. Beyond a point that can sustain me continuing to be able to release music, I\u2019m not interested in mega-quantity. Quality is the coin of the realm. Maybe AI is good for people with a passing interest in music, but that ain\u2019t really my bag. If someone made a purely AI album that was as good as Endtroducing, I\u2019d be all for it. I reckon it becomes more about curation after a certain point. What prompts you give. I\u2019m not really into it. I\u2019m a self-prompter.\u00a0It did nudge me into learning a bit of Max\/MSP, though. I like building simple generative sequences, but I always end up sculpting them manually. In the end, I always think this is getting a bit boring now, the work it would take to learn it. My thing is \u2013 I\u2019ve got stuff I wanna learn on the piano, I don\u2019t practice drums enough. If I had more time, I\u2019d probably be into it.<\/p>\n

You seem to thrive on that sense of curiosity \u2014 just poking at sound until something happens.<\/strong><\/em>
Completely. When I\u2019m not trying to make a track, that\u2019s when I make a track. Testing a synth, fixing a cable\u2026 suddenly a feeling comes out of nowhere. It\u2019s about catching yourself off guard. You can\u2019t plan that. Steep Stims came out of that kind of play \u2014 spontaneous, unselfconscious.<\/p>\n

What\u2019s next for you?
<\/strong><\/em>More music. Always. I\u2019m talking with a few artists I really admire, but I can\u2019t say who yet. I\u2019ve got loads of material that I wanna finish. And live shows \u2014 Bristol, Paris, Berlin, London. Performing is nerve-wracking because I basically love being at home writing tunes. But you normally come back from a show with a head full of new ideas.<\/p>\n<\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

That sense of directness has been in your work since the beginning, right?Yeah, and it\u2019s something I\u2019ve come to appreciate more. It doesn\u2019t make the process easier, though. It\u2019s actually harder to cut things down to the right size. I improvise a lot, and only a small fraction ever gets released. Maybe one fifteenth of […]<\/p>\n","protected":false},"author":1,"featured_media":311662,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12031],"tags":[3927,25921,4006,5727],"dealstore":[],"offerexpiration":[],"class_list":["post-311661","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ambient-music","tag-clark","tag-commute","tag-headphone","tag-interview"],"yoast_head":"\nInterview with Clark | Headphone Commute - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=311661\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview with Clark | Headphone Commute - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"That sense of directness has been in your work since the beginning, right?Yeah, and it\u2019s something I\u2019ve come to appreciate more. 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