He started making music as a teenager, and also began experimenting with building his own primitive equipment, including a "home-built stylus made out of a hook and some masking tape".

[6] Whilst still a student, Clark first impressed staff at Warp Records playing under the moniker Chris From St Albans at their Nesh party in December 2000.

Clark then moved to Brighton,[8] followed by Birmingham where he stayed for some time,[9] during which he collaborated with Broadcast on a reinterpretation of his track "Herr Barr" and other unreleased material.

[16] He often experiments with forms of degradation, distortion and decay associated with different mediums, employing techniques such as re-recording samples and field-recordings in different environments.

[19] On describing his live set Clark states "If you see me play, my hands are all over the place – literally I’m doing every single thing.

Festival appearances have included Bang Face, Sónar Tokyo, Sacrum Profanum[21] and Taico Club.

Australian artist Jonathan Zawada expanded the cover art for Playground in a Lake into a music video for "Citrus".

[28] Clark collaborated with Brighton based artist collective Blast Theory in 2011 on a piece entitled Fixing Point.

The piece was an interactive audio walk with music by Clark and deals with the legacy of the conflict in Northern Ireland, in particular the disappearance of Seamus Ruddy.

[30] During the summer of 2010, he scored a contemporary dance piece titled Tilted Fawn that was performed by Melanie Lane at the Sydney Opera House.

[34] The track Vengeance Drools was used in a domestic violence awareness advertising campaign by Women's Aid, which starred Keira Knightley.

The score features a Budapest Art Orchestra string ensemble, with Headphone Commute describing it as "textural, organic, and incredibly dynamic".

In 2015 Clark scored the six-part TV series The Last Panthers starring Samantha Morton, John Hurt and Tahar Rahim, broadcast in Europe by Sky Atlantic and Canal+.

Clark was asked to compose the score by its director Pablo Larraín who had heard the Daniel Isn't Real soundtrack.

The album marked a change in style for Clark, and featured the prominent use of live instrumentation, albeit highly processed.

In addition to completely new tracks, it also contained new versions of songs that could be found on Sus Dog, which is why it functions as a companion album.