Resonance | Interview: Clem Leek
Hollie Kenniff in conversation with British-American composer Clem Leek, whose new EP Signs arrives today.
Clem Leek is a composer specializing in modern classical and ambient soundscapes. His new EP, Signs, is out now. It’s his first significant release in years, and a beautifully reflective return. The music offers a quiet, contemplative journey through themes of memory, transience, and stillness.
Signs is a study in quiet presence and soft restraint. Piano melodies drift like distant thoughts, wrapped in the shimmer of memory and air. There is a deep sense of care in the pacing. Nothing rushes; everything breathes. It evokes the sensation of looking out a train window, the world passing gently by, moments slipping into a blur of introspection and clarity. Known for his nuanced blend of ambient textures and neoclassical flourishes, Leek continues to refine his craft with a quiet confidence that speaks volumes in the space between notes. Signs is a graceful reminder of the power found in stillness. A subtle, meditative collection that lingers long after the final note fades.
You’re originally from the southeast of England but have been based in Chicago, U.S., for some time now. How have both places shaped or influenced your work as a composer? And what do you love most about living in Chicago? I actually lived there for a bit after college and worked downtown. I still have such fond memories of the city.
I have lived in Chicago for 8 years now, and definitely feel at home, although it took some time. My experiences have been mixed, growing up in the countryside (Kent, UK), going to college in the city (Bath, UK) and then moving to the states. I think all places have influenced my work both as far as the aesthetics of the sound and of the visuals like the artwork. I feel the countryside gave my music a more ethereal feel, while the city has made my music more organic and distilled my sound a little bit. The shapes of the city, especially an American one, have definitely influenced my latest album artwork with a more angular and solid feel.
Can you tell us about the creative process behind your new piano EP Signs? Were there any unexpected directions it took as you worked on it?
Yes, of course! As this is my first substantial release in a number of years, it felt best to go back to basics, and by that, I mean piano. The instrument has always been my landing spot, and I enjoyed exploring the simplicity of composition and emotion. I wouldn’t say there was anything too unexpected, however I have always loved the complex and nuanced aesthetics and feelings that resonance and pedaling of the piano can create - I enjoy letting that guide the piece.
What was your studio setup like during the making of Signs?
I have always kept my studio setup very simple, as you can see in the picture. I believe that limiting my choices helps to give me direction in my work, allowing me not to get overwhelmed and to concentrate on the basics. I use Amphion speakers with Universal Audio interfaces and effects. I will record piano offsite often, and use a VST when necessary, in the studio. For any guitar work I do, I have my trusted tele and pedals I have used for years!
You recently joined The Sartorial Club. What drew you to it, and how do you feel it reflects your creative or personal style? I’ve always loved vintage dresses and the charm of old-world elegance, so I completely get the appeal.
I did! The way I interact with clothes very much aligns with the way I do with music (although in this sense I am not a creator per se). I can get a little nerdy about it so I’ll try not to, but admiring artisans and the details/choices that go into making the clothes is very akin to the way I look at musicians and their music. I have enjoyed meeting people through this passion, and it is another way to express yourself and build connections. I am also a lover of architecture and furniture, so it is another way to immerse myself in a design language that is tangible in everyday life.
Which artists or composers have had a lasting influence on your music?
There are many I come back to.
Max Richter, Philip Glass, Bill Evans, Ian Hawgood, Rameses III, Imogen Heap, Arve Henriksen, Loren Connors and bands like Muse and Keane. Of course, Keith (Kenniff) has been a big influence on me with both Helios and Goldmund - I connected early on with Keith’s music while I was at college (2008/9). Mint Julep is also in my forever-rotation too!
“I have never been scared to use silence or stillness in my work, whether it be at the beginning or end of tracks, in between chords or even live. I always try to leave some imperfections in my music, as reflection of life itself.”
Have any books, albums or films stood out to you recently as sources of inspiration?
I find that, while I love books and films, biopics and documentaries usually influence me a great deal. I am always drawn to the stories of people, their trials and tribulations. Understanding how people lived their lives is a great way of seeing their work (if they are a musician, architect or artist). I think people influence me, just as much as the ‘things’ in my life do like my love for art and design.
How did your journey into composing first begin?
Great question! I have always been ‘musical’ and was drawn to writing music from a very young age. I would hide in the computer cupboard under the stairs finding ways to record music and make songs. I enjoyed stretching the bounds of programs like music 2000 to see how creative I could be, and it felt natural. It grew from there!
My husband Keith and I have been longtime fans of your work since your early releases in 2010. How do you feel your sound has evolved over the years?
That is so kind, and of course likewise! I think my sound has always been a little sporadic in nature - an ambient album here, a piano EP there. I feel that hopefully my ability to communicate through each type of music has got better over the years - what that translates to in terms of sound I don’t know, It may be simply that I just have more to communicate being older and more experienced.
You’ve been involved in a variety of collaborations, from Black Elk to commercial library work used globally. Are there any upcoming collaborations you're excited about?
I have a few in the works I’m excited about, but not yet completed. However, you did mention Black Elk, and this is one of the most important parts of my musical journey. Working with Ian, Danny and Tim was meaningful. Even more so as it was underpinned by an amazing trip to Japanto play shows and some truly wonderful moments I will always treasure. I hold those albums close to my heart and always will.
Your photography feels quiet and introspective. Does it connect to your music in any way, or offer a different kind of expression for you?
Thank you for noticing. Like my music, I think my photography is a snapshot in time and represents a feeling at that moment. I love taking photos of architecture and design, especially modern and minimal subjects because it harnesses the inherent simple beauty of them.
Your music often feels deeply reflective and spacious. Do you find that certain environments or moments in life tend to shape your compositions more than others?
Sometimes I hear and feel the space in my music, other times not. I think my early work has a fragility driven purely by experimentation and perhaps a lack of skill at times. My later work is shaped by direction and moments in life - especially ‘America’. One thing I have maintained in my work throughout, mostly in piano and guitar is the use of pauses and that represents how unsure life can be - which is always a theme.
Looking back over your body of work, is there a piece or album that feels especially personal to you and why?
I have loved making all my music and it all represents a moment in time for me. One particular example is my very early work Through the Annular. It holds a special place in my heart because it was recorded on my grandpa’s piano in my childhood home. I never met my grandpa, but that makes it even more special that I was able to learn to play and make my first recording on that instrument.
What role does silence, or stillness play in your compositions, and how do you know when a piece is “complete”?
I have never been scared to use silence or stillness in my work, whether it be at the beginning or end of tracks, in between chords or even live. I always try to leave some imperfections in my music, as reflection of life itself. I am not sure If I know when it is complete, just that it is enough and then I stop.
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