British recording artist Clark has been making solo and collaborative records that blend classic instrumentation into electronic production since the turn of this century. Along the way, he has waded into scoring for film and television and Chris Clark jumps on this episode to talk about his latest film score for We Bury the Dead, a different take on a classic Zombie flick mirrored by his expansive score. Charles and Chris dive into the current state of things in score artistry too. Welcome back!

Dave Porter’s music has been the soundtrack to Vince Gilligan TV shows since day one Breaking Bad. With the enrapturing new show Pluribus, Porter has been given the gift of a completely blank canvas to paint on. The journey has only just begun and Porter’s cues have once again been the guide rails through another one of Gilligan’s bizarrely novel plunges into the What If. Dave returns to talk about all that is familiar and brand new about this trip.

Right after the conclusion of TASK, one of the best shows of the year and the second chapter in the Brad Ingelsby "Delco" expanded universe (we hope) Charles spoke with composer Dan Deacon, whose phenomenal score lifted the show to unexpected heights. SPOILERS

Over his thirty years of scoring for film and television, Theodore Shapiro has been one of the most consistently reliable composers in delivering emotional and tonal evenness and depth to his various projects. Yet his recognition, and appreciation of his talent have never been greater thanks to his Emmy winning score for the hit show Severance. Executive Producer and Director Ben Stiller is right in saying Shapiro’s music defines the world of Severance, guiding its audience through the existential mystery of identity, love, and loss, pushing us to re-examine what we believe about all of these themes. Shapiro talks to Charles about how he landed on and gave life to one of the more identifiable TV series scores in recent times.

Right in time for the Halloween run-up, we're talking horror scores with emergent composer for the genre, Cornel Wilczek. His scores for Talk to Me, Bring Her Back, and most recently, Together, have added a fresh voice to the lineage in three distinct expressions. Wilczek gets into why horror films are saving cinema, locating his personal line of extremity, and also shares a very cool story about Keiji Haino.

New kind of artist alert! The Blank Chat welcomes another member of the music department into the mix. Charles speaks in depth with Emmy winning Music Supervisor Trygge Toven about the glory of old school soundtracks, his award winning and recognized series work for Fallout and Westworld, and how music supervision for film and TV goes way beyond liking all genres of music.

In this episode, acclaimed composer and synthesist Kaitlyn Aurelia Smith traces how changing environments, like her new locale of Lisbon, spark a sense of neutrality and openness, fueling innovation far from the ambition-driven cities of the US. Kaitlyn shares formative experiences with sound awareness, a kind of synaesthesia where music is felt as much as heard, and how time spent in nature nurtured her love for music. Blending modern and vintage synthesizers with the focus in practice of martial arts, Kaitlyn explores music’s potential to give meaning to ambiguity with in irrepressible optimism of where it can all go.

Carlos Rafael Rivera's score music is a reliable conduit of shivers and chills. The Emmy and Grammy winning composer's signature graceful style has amplified the drama of shows like The Queen's Gambit, Hacks, and Godless and his passage through the rigors and rewards of academia have made him a true student and teacher of his craft. You might be surprised how much of this goes out the window in favor of instinct when it's time to tell a story.