Since his 2001 debut, Clark has had no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds—something new, something unexpected each time. But his early violin orchestra days in the UK have always gripped him, and more recently, he’s made a successful metamorphosis into composing highly individual, immersive TV and film soundtracks, sucking him back into classical music’s gravitational pull.