LITTLEBIG was founded by Ned Beckett in the UK in 2004. Representing the world’s finest leftfield artists including Aphex Twin, Jon Hopkins, Autechre, Battles, Clark and 65daysofstatic, the agency – whilst primarily focusing on concert and tour booking – produces special events worldwide, and to its artists it also offers management and consultancy.
With offices in Brighton, Bristol and Berlin, the agency is thrilled to announce its expansion; it has opened a London office, under the banner NEWFORM.
Headed up by the agency’s newest agent-addition, Nathalie Blue, NEWFORM will offer agency, production and consultancy services to composers, musicians and ensembles working between genres and forms. It builds on the agency’s belief in supporting artist visions, with a special focus on the intersection between contemporary classical, electronic and visual culture. NEWFORM will produce and tour a range of unique artists and projects.
Nathalie Blue – who brings a wealth of expertise and experience from her years working in London agencies such as Primary Talent and Harrison Parrott – explains that NEWFORM will “offer a service which will allow us to curate, connect and promote the best in contemporary live performance”. And LITTLEBIG director Ned Beckett couldn’t be happier with the new entity; “I’m thrilled to welcome such a talented and experienced person to the LITTLEBIG family. Nathalie’s vision fits with our way of thinking, and how we look to evolve our work into new areas in the future.”
Further to announcing its new London office, there’s an incredibly exciting development for the LITTLEBIG Berlin headquarters too. The agency has teamed up with new Berlin-based agency, QUIETLOUD. After two decades operating as Backroom Entertainment, Alma Ernst and her fantastic 7-person team are beginning a new chapter under the QUIETLOUD banner, sharing office space, insight and expertise with LITTLEBIG.
This joint-venture between the two agencies has been formed to expand each organisations network and collaborative possibilities, continuing their shared passion and enduring dedication to developing the live careers of artists they truly believe in and are inspired by. Two cutting-edge organisations will now collaborate, and will continue building amazing live careers for artists, and special experiences for audiences.
65daysofstatic // Actress // Afrodeutsche // Aisha Devi // Aleksi Perala // Anika // Aphex Twin // And So I Watch You From Afar // Autechre // Battles // Ben Frost // Ben Lukas Boysen // Bjarki // Bobbie Johnson // Braids // Camila Fuchs // Clark // Claro Intelecto // Clouds // Conforce // Daniel Lanois // Danny Daze // Dopplereffekt // Emmanuel // Emptyset // Eomac // Felixs Machines // Gábor Lázár // Gazelle Twin // Giant Swan // Hidden Orchestra // Holly Herndon // JETS // Jimmy Edgar // JoeFarr // Jon Hopkins // Kaitlyn Aurelia Smith // Kangding Ray // Kiki Hitomi // Kyoka // Lakker // Leisure System // Lisa Morgenstern // Luke Vibert // Maenad Veyl // Mariel Ito // Mark Ernestus // Max Cooper // Mira Calix // Mouse On Mars // Múm // Nathan Fake // Photay // Plaid // Powell // Randomer // Richard Devine // Rival Consoles // Roly Porter // Roman Lindau // Ryan James Ford // Shackleton // The Field // Tikiman live with Scion // Tim Exile // Tropic of Cancer // Tzusing // Venetian Snares // Wolf Eyes // Yaleesa Hall // Zebra Katz
Alex From Tokyo | Andre Bratten | Andy Hart | Bloody Mary | Brock Van Wey / bvdub | Christopher Rau | Curses | Daniele Baldelli | Elektro Guzzi | Engyn | Ian Pooley | Idjut Boys | KiNK | Kirilik | Lord Of The Isles | Max Graef | Morgan Geist | Mr Tophat | Musk | No Moon | Otologic | Paramida | Perel | Robert Henke and all aliases: Atom/ Monolake/ Lumière/ Piercing | Tim Sweeney | Todd Terje | Woo York
Clark will handle the first release on his new label, Throttle Records.
The label name might feel familiar to fans of the Warp mainstay—in the mid-’00s, he released three EPs with “throttle” in the title, followed by the Throttle Monolith compilation in 2012. The first 12-inch, which lands on September 21st, features two tracks, both of which were inspired “as much by classical/orchestral and avant garde greats as dance music,” according to the press release.
The EP, E.C.S.T. T.R.A.X., was recorded in partnership with sample library and virtual instrument company Spitfire Audio.
Harpischord E.C.S.T. Taken from the double A side 12″ ‘E.C.S.T. T.R.A.X.’. Released 21 September 2018 on Throttle Records, Clark’s newly established record label.
Piano E.C.S.T. Taken from the double A side 12″ ‘E.C.S.T. T.R.A.X.’ release 21 September 2018 on Throttle Records, Clark’s newly established record label.
Out now on Warp Records, Clark’s new 12″, Honey Badger / Pig.
“The riff in this sounds bit a tropical to me. (you kidding m8?) From a rainy grey skyed uk perspective at least! Again it’s a simple hardware improv. I started messing with my friend Yamila’s vocals and crunching out these luscious Oberheim synth recordings I made. I wanted to write something that started out as a fluid, slightly muddy blur, muted euphoria, warm, then the landscape coarsens and distorts. I like that effect, from soft and sympathetic to quite brutal, angular patterns and more bling production. Just because I can produce now it doesn’t mean I don’t still love lo-fi grit 🙂 They mutually enhance each other. The synth at the end is a counterpoint to that. It’s something I made of my wife Melanie singing on a skype call captured with a laptop mic. I’m quite chuffed with it. No presets allowed! It’s got a glow to it that reminds me of her.” – Chris Clark
Before a string of autumn tour dates, the Warp veteran goes full-throttle on his knotty new mix and tells us about his ninth album Death Peak
The title of Chris Clark’s ninth album accurately captures its atmosphere. Death Peakis club music as earth music, with basslines that shake like the shift of tectonic plates, knotty synthesiser textures that sound like they’ve been ravaged by the winds, and euphoric melodies that glow like the morning sun. “I’ve had the title Death Peak since August 2016,” Clark said prior to the album’s release. “It felt so right, I would repeat it to myself like a mantra. Death Peak Death Peak Death Peak. It starts gently, all meadows and butterflies, and ends with you on top of this gnarly, fearsome mountain peak, surveying a shattered landscape below.”
The album sees the electronic producer and Warp Records veteran equip himself with a new arsenal of weapons. While he’s used vocals in his work before (notably his exceptional collaborations with Martina Topley-Bird on 2012’s Iradelphic), Death Peak weaves vocal and choral elements into his work (a children’s choir in “Catastrophe Anthem”, the angelic coos of “Aftermath”). Much of this experience could have come from his recent soundtrack work, such as a production of Macbeth at the Young Vic in 2015, the cinematic score for Sky Atlantic’s The Last Panthers in 2016, and – most recently – BBC crime drama Rellik. This year he’ll bring that on tour combining contemporary dance choreography with Clark’s music, working with frequent collaborator and partner Melanie Lane.
Currently partway through a marathon international tour (some of which saw the producer combine the contemporary dance choreography of frequent collaborator Melanie Lane with his own rave belters), Clark contributed to our latest Dazed Mix and told us about the ideas behind Death Peak.
You’ve talked about the way that Death Peak introduced vocals in a way you’d never previously used them, but what sparked your interest in vocals in the first place?
Clark: I’ve often used vocals in the past but this record it all seemed to cohere as a constant element. I didn’t want any one track to be ‘the big vocal one’; rather it was more about it being a background thread, vital but not given immediate priority over other voices. It’s also just a thrill to record other people and allow that collaborative space to furnish you with new ideas.
I always think of your music as being quite earthy and ancient, despite it obviously being electronic and modern. Do you ever think about those sorts of ideas when you’re making tracks?
Clark: I like the idea of excavation, that you have to go on this massive quest to unearth something ancient and buried before you can really glean it’s relevance/worth. Music feels like that. Obviously the metal/music detector will throw up a lot of junk as well and you just have to feel 100% fine with deleting that music.
I enjoy it, I enjoy this thing of total non-self-censorship in the creation process followed by a very tough-minded, thick-skinned approach to the edit. I think that combo is a total winner, and it continues to work for me. As you get older you realise what your process is more – you realise what is obtuse and unhelpful, you realise what is lucid and strong, and what generates the results that satisfy you – and it’s these two things that really work me for me. Boundless range and expression in the act of creation and perfectionist tough minded approach in the edit. I enjoy the stage where you can laugh and say, ‘No, fuck that, not good enough, no way’ – it’s a sign you’re getting better and more brutal with your own standards. I think I’d be terribly unpopular if was to be in A&R.
Anyway, it’s usually the tracks I enjoyed making the most are the best ones. But the thing is, I enjoy making everything, so it’s quite annoying sometimes whittling an album down and getting it tight as fuck. No flab.
Death Peak has quite a gothic overtone as a title. What’s the imagery it makes you think of?
Clark: It’s me as T-800 being mashed in with the anvil at the end of T2. On acid.
Did working on things like The Last Panthers change your approach to production and writing?
Clark: It definitely did. It made me appreciate how much fun writing solo records is, and also gave me a chance to explore a totally different palette, using orchestral instruments and tweaking them out. I definitely want to do more of this. It made me enjoy space and texture more also. ‘How you can create intense music without using any metronomic cliches?’ But every record is a learning process, really.
Given we’re in a ‘post-Brexit age’, what does the Death Peak track title ‘Un U.K.’ mean to you?
Clark: I just discovered an old version of the vocal take of the kids choir singing ‘no going back in time will tell all of us.’ I think that probably says it all. I did a version with that lyric in, but it sounded a bit trite in a musical context – it sounded better without words. Music often does!
Some of your Death Peak live shows are going to feature an element of contemporary dance, choreographed by your wife. How does working with a partner on a creative project feel?
Clark: So much of the etiquette surrounding working with other people who you don’t know starts with a slightly frivolous courting ritual. It’s a bit of a tapdance. It’s the only way to get familiar really, but with Melanie we can just bypass all that and go straight to the substance of the work. It gives it a really thorough and obsessive energy; I suppose that comes out of our of kinship/shared tastes. I would love some of her old works to be shown again some day – they are still totally fresh/original compelling slabs of choreography, Tilted Fawn in particular. So many, she smashes them out
What’s going on in this mix?
Clark: It’s a load of my mates tracks that haven’t been released yet, and a few of mine as well. I enjoyed stitching it all together. It covers quite a few styles!
Following on from this years ‘Death Peak’, the ‘Rellik EP’, available now, sees Clark shift his musical language from the dancefloor euphoria of said album and associated live show, to more melancholic moments, as manifested throughout the series.
The Rellik compositions are the latest in a growing body of score work. In 2015 he soundtracked the Sky Atlantic series “The Last Panthers”, and more recently wrote an original composition for Wayne McGregor’s ‘+/- Human’, with the Royal Ballet.
”I wanted this video to be one singular idea, executed with elegant brutality-like an acid trip that conveys the most forceful yet euphoric momentum. You might feel slightly sick but just focus on the shape of the kicks. Generally in life, this works.
This video totally doesn’t work if you have lots of other windows open and are checking emails/Trump tweets/Farage gifs at the same time. You need to surrender to it full screen to get the full effect. Sounds obvious, but I found myself doing that and kicking myself for not concentrating hard enough. I did have tour bus internet though…. Props to everyone involved for pulling this off!”
‘I’ve had the title Death Peak since August 2016. It felt so right, I would repeat it to myself like a mantra. Death Peak Death Peak Death Peak. It starts gently, all meadows and butterflies and ends with you on top of this gnarly fearsome mountain peak, surveying a shattered landscape below’
Clark returns today, on the 7th of April, with Death Peak; his eighth studio album on Warp Records. The album deftly weaves together the various threads of his extensive work, intertwining euphoric melodies and visceral rhythms of warehouse rave with newer vocal and choral elements. Death Peak exposes the tension in Clark’s musical vocabulary ’I love finding the fulcrum between opposites – I want my tracks to have sharp teeth, but you want to stroke them too. They sound ancient, but beamed in from the future, soft, corrosive’.
Do not miss the chance to experience his incredible Death Peak Live show:
On the 30th of March Nathan Fake and Clark joined the BBC Radio1 crew for a Residency that it’s not only a selection of their favorite artists and singles but it’s also mostly a captivating dialogue of their lives seen through the emerging power of music.
If you missed it, you are still in time to catch it up, just follow the link below.
“I’ve had the title Death Peak since August 2016. It felt so right, I would repeat it to myself like a mantra. Death Peak Death Peak Death Peak. It starts gently, all meadows and butterflies and ends with you on top of this gnarly fearsome mountain peak, surveying a shattered landscape below”
Beauty through destruction…
Clark returns this spring with Death Peak. The album deftly weaves together the various threads of his extensive work, intertwining euphoric melodies and visceral rhythms of warehouse rave with newer vocal and choral elements.
Death Peak exposes the tension in Clark’s musical vocabulary “I love finding the fulcrum between opposites – I want my tracks to have sharp teeth, but you want to stroke them too. They sound ancient, but beamed in from the future, soft, corrosive”.
Album track ‘Peak Magnetic’ is a club-ready 4am affair – vigorous, singular, hard to define. As Clark explains “I wanted the kick to sound like some massive natural event, barely controlled, a boulder bouncing down a hill with birds tweeting around it. A complete mud-ball of a pulse that anchors everything to it through sheer mass. It makes me think of outdoor spring time raving”.
‘Catastrophe Anthem’ features the voices of a children’s choir eerily chanting the mantra, “We are your ancestors”. Clark has rarely used vocals before, but here every song has an element of human voice.
“Nearly all the tracks have some form of vocal recording on them. I only realised this late in the recording process. I get hypnotised by the human voice – the most perfect synth.
Vocals can be a bit of an awkward hat, that producers wear to try and get attention. Death Peak voices are the opposite of that. The vocal elements are just another instrument in the mix. It’s taken me awhile to get to this level of confidence with it.”
Recently he released a split 12-inch with label mates Mark Pritchard & Bibio and worked remixes with the likes of Nils Frahm and Max Richter. Significantly, Clark has turned his hand to scoring. He released the foreboding cinematic soundtrack to the 2016 BAFTA nominated Sky Atlantic series ‘The Last Panthers’ and composed a score for Macbeth at the Young Vic theatre. Late in 2016 he composed ‘Enter The Void’ especially for The Echo Society orchestra, conducted by Joe Trapanese (M83 & Daft Punk collaborator) and performed at the historic Ace Theatre, LA.
Clark signed to Warp in his late-teens. His studio sound has evolved and matured over two decades; although he would say he’s only just starting. His amorphous industrial noise has ever-grown and influenced producers, dancefloors and festivals around the world.
This year he will continue to tour, combining the contemporary dance choreography of frequent collaborator Melanie Lane with his customised rave bangers. This includes Clark’s biggest UK show to date at Brixton Electric.
Clark Death Peak WARP282
01. Spring But Dark
02. Butterfly Prowler
03. Peak Magnetic
05. Slap Drones
07. Catastrophe Anthem
08. Living Fantasy
09. Un U.K.
Clark will play the following shows – with more to be announced:
24/02/2017 : Melbourne, The Night Cat Tickets
18/03/2017 : Southport, Bang Face Tickets 25/03/2017 : Istanbul, Sonar Tickets 01/04/2017 : Hong Kong, Sonar Tickets 15/04/2017 : Bruges, More Music Festival Tickets 21/04/2017 : Berlin, Funkhaus Tickets 22/04/2017 : London, Electric Brixton Tickets 16/06/2017 : Barcelona, Sonar Festival Tickets
Off the back of another extremely busy year, Warp Records’ Clark returns to London for his biggest UK headline to show to date, which will herald new music from the man himself and more ‘human special effects’ from dancers Melanie Lane and Kianí del Valle. 2016 has shown the Berlin-based producer’s incredible diversity, including the release of the soundtrack to the critically-acclaimed Sky Atlantic series The Last Panthers, writing three new scores for contemporary dance choreographers Antony Hamilton and Melanie Lane, on top of collaborations with label mates Mark Pritchard and Bibio and contributing to the Save Fabric campaign.
The announcement of his live show will coincide with the giveaway of two tracks from the Clark archives. The savage, rave-destined hip hop bootlegs of Bone Thugs and Trina highlight his diverse production skills, especially in light of their contrast to his recent scores. Now back in the studio and working on new material, who knows what this man will do next?
On the heels of his storming new Flame Rave EP on Warp, Clark has released the music video for EP track “To Live And Die In Grantham,” directed by Christopher Hewitt.
Of the new EP Clark says:
“I started making these ravey tunes to play out at gigs, but they gathered a momentum and gradually formed this E.P. I came back to it again and again – it seemed to work in clubs but also as a sneaky, immersive headphone listen. I love the feel of an almost overwhelming percussive violence being suddenly flooded with heartache and melody. I find that dynamic exhilarating. I really wanted this E.P. to capture that. I hope you enjoy listening to it!”
Clark is currently embarking on a world tour, with all standalone tour dates and festival appearances on the flyer below.
” Clark’ is a striking album not only in its emotional and thematic scope, but also in its sheer cinematic propensity’ – Hyponik
“ This and the album’s closer, “Everlane,” seem to mourn the fading memory of highs gone by; it’s a safe bet that listeners coming to the end of this exceptional album will, in that moment, feel the same way.” – XLR8R Pick – XLR8R
Clark has revealed details of his latest full-length, self-titled album ‘Clark’ which is to be released on Warp on 3rd November 2014.
This is where the sounds of the machine meet the sounds of the world. A protracted club experience distilled into a cinematic, immersive whole. Clark’s chiseled vision of techno contextualized for a post-rave environment – the clean, cold edges of technology eroded over time to produce raw, fascinating new textures.
“I wanted to let the weather in with this album”, Clark explains. “It’s outward looking, it’s drenched in sounds of the outside world, sounds free from human intervention: branches crackling in the wind, storms brewing, the stillness of settling snow. It’s all in there, amongst the moreish crunch of industrial machinery”.
The machines hold their own against nature: ‘Banjo’ is a straight up MPC/synth funk jam played over three notes, the hypnotic arpeggios of ‘Unfurla’ are underpinned by a solid 4/4 kick drum, peak-rave euphoria is captured in ‘There’s a Distance In You’. At its essence ‘Grit In The Pearl’ is more Berghain than Guggenheim – a club banger, albeit in a parallel dimension filtered through the ‘Clark’ lens, lending new context to its spiralling rave chords.
Dour Festival have announced our LB.10 stage, part of the ongoing event series celebrating LittleBig’s 10th Anniversary
The LB.10 Stage at Dour on July 19th will be on the Cannibal Stage and features live performances from Fuck Buttons, the legendary LFO, and Clark, who will be presenting his new Phosphor live show. Paula Temple will also be DJing on the LittleBig stage, while LittleBig acts Machinedrum and 65daysofstatic play elsewhere at the festival that same day.
to stay connected with all LB.10 updates, visit. www.littlebig.org.uk/lb10
LittleBig is proud to announce that we will be celebrating our 10th anniversary in 2014 with a 2xCD compilation and 10 LittleBig events worldwide.
LB.10 is a series of 10 events partnering with select promoters to bring disparate artists from LittleBig’s roster to festival stages and select venues worldwide, including Tauron Nowa Muzyka in Poland, Taico Festival in Japan, Donau Festival in Austria, Dour Festival in Belgium, and more TBA. LittleBig director Ned Beckett will also curate a limited 2xCD compilation of choice tracks from artists on the roster, distributed for free to our network of friendly associates, with the second CD mixed by Warp Records hero Clark. This 10th anniversary is a celebration not just of LittleBig and our ongoing work, but of a sprawling community of artists, promoters, and creatives who have been instrumental in booking and supporting alternative electronic music worldwide. It’s been a great ten years, and we’re looking forward to ten more.
Founded in 2004 by Ned Beckett, LittleBig has established an enviable roster representing some of the most respected artists in electronic music, as well as rising young acts already creating superlative work in a crowded field. An independent and selective agency, LittleBig is committed to breaking acts and supporting alternative artists while developing a healthy industry for advanced live music. For the past 10 years we have dedicated ourselves to developing the live careers of artists we believe in and are inspired by.
LB.10 – CD 1 – Compilation
1. Venetian Snares – Senki Dala
2. Battles – Ice Cream (feat. Matias Aguayo)
3. Oneohtrix Point Never – Problem Areas
4. Tall Ships – Phosphorescence
5. This Will Destroy You – Killed The Lord, Left For The New World
6. Autechre – jatevee C
7. Bibio – You
8. Gonjasufi – Duet
9. Múm – Toothwheels
10. 65daysofstatic – Prisms
11. Fuck Buttons – The Red Wing
12. Machinedrum – Gunshotta
13. Aphex Twin – Come To Daddy (Mummy Mix)
14. DJ Rashad – Feelin’
15. Cakes Da Killa – Goodie Goodies
16. Nozinja – Madyisa Mbitsi
17. Three Trapped Tigers – 7
LB.10 – CD 2 – Mix
1. The Field – No. No… (Kompakt)
2. Jon Hopkins – Collider (Domino)
3. Alex Smoke – Dust (R & S)
4. Simian Ghost – Echoes of Songs (Luke Abbott Remix) (Playground Music)
5. Tim Exile – 31022013 (Leisure System)
6. Holly Herndon – Chorus (RVNG Intl.)
7. Emika – 3 Hours (Ninja Tune)
8. Dopplereffekt – Gene Silencing (Leisure System)
9. Letherette – Restless (Ninja Tune)
10. Hubie Davison – Mannequin Move (Leisure System)
11. Dinos Chapman – Untitled #1 (Live In Moscow) (Vinyl Factory)
12. Wesley Matsell – Future Beacon (Border Community)
13. Clouds – Consciousness (Turbo)
14. Physical Therapy – Huminbeen (Allergy Season)
15. Jimmy Edgar – Mercurio (Ultramajic)
16. Planningtorock – Human Drama (Paula Temple Remix) (Human Level)
17. Akkord – Conveyor (Houndstooth)
18. Dadub + Retina.it – Kykeon (Stroboscopic Artefacts)
19. Clark – Superscope (Warp)
20. Stellar Om Source – Polarity (RVNG Intl.)
21. Objekt – Agnes Demise (Objekt)
22. Kommune1 – Kronos (Leisure System)
23. LFO – Butterslut (Warp)
24. Call Super – Black Octagons (Houndstooth)
25. Laurel Halo – Chance Of Rain (Hyperdub)
26. Visionist – Snakes (Leisure System)
28. Truss – Redbrook (Prime Numbers)
29. Mouse On Mars – Spezmodia (Monkeytown)
30. Jam City – Worst Illusion (Night Slugs)
31. Slava – Better (Software)
32. Ikonika – You Won’t Find It There (Hyperdub)
33. ADULT. – Idle (Second Thoughts) (Ghostly)
Riding the wave of enthusiasm created by the jaw dropping dbl remix compilation album Feast/Beast released in September, more big news just in from the Clark camp, this time about his new PHOSPHOR live show. Taking a distinctly more technoid direction than his previous live shows both in set up, sound and (oscilloscope) visual aesthetic, the new Phosphor live show promises to deliver what alot of Clark’s fans have been hoping for, a foot stomping clubby dancefloor live set from the master of heavy beats.
Clark just announced a six-track mini album for free that can be downloaded from his website for a limited time. Iradelphic Sessions is a collection of 6 tracks from the time Clark was making the 2012 masterpiece album Iradelphic.
Like the Iradelphic album, this collection includes some acoustic material, hazy guitar samples, mixed seamlessly with synthesizer sequences, distant & distorted drums, haunting vocals that eventually come to the surface as the pieces unfold. The album will give fans more insight into Clark’s library of songs he was making around this time – its ideal for a Sunday afternoon home listening in beautiful springtime.
Clark’s new live shows are exploring a different path from his albums. Surrounded by modular synth, drum machines and effects pedals, Clark tames the machines to blast his audiences with heavy beats and melodies to great effect.
You can catch Clark performing live on the following dates:
20 April – Koko – London, UK
26 April – LunchMeat Festival – Prague, CZ
27 April – Arc Festival – Bristol, UK
04 May – LEV Festival – Gijón, ES
11 May – Mapping Festival – Geneva, CH
1 June – Taico Club Festival – Nagano, JP