Johnny Klimek is a fourth-generation film composer, equally comfortable in the electronic studio and on the recording stage with Simon Rattle and the Berlin Philharmonic, as he was for “Perfume: The Story of a Murderer”. This dual identity asserted itself again in the adaptation of “Cloud Atlas” (2012), on which Johnny teamed up with the Wachowskis and his sturdiest collaborator, German auteur Tom Tykwer. His style is a hybrid of the ambient soundscapes and propulsive grooves he mastered during his formative years in the Berlin underground and the classic film scoring tradition so much associated with Hollywood.
Born in Australia, Johnny paid his dues down-under with a series of gritty pub bands, but the genesis of his knife-edged electronics and lush, dreamy sound pictures was his baptism in the Berlin electronica underground. Initially migrating to Berlin to form the 80s pop ensemble, The Other Ones with his siblings. He segued into the club music scene in the 90s, which lead to a creative marriage with German electronic auteurs Heil and Tykwer. The consummation of this three-way relationship was “Run, Lola, Run”, a game-changing exercise in both non-linear storytelling and the use of electronica as underscore. The worldwide success of the Lola score put Johnny on the map and catalyzed his move to Los Angeles and the establishment of his Echo Park studio. Since then, he has seen a steady stream of cinematically striking projects and has become something of a go-to composer for film and television involving parallel realities and slipping time frames such as “Matrix: Resurrections”.