If you’ve ever lost yourself on a dance floor, chances are Chris Lake was somewhere in the soundtrack. Not just by name, but through moments: maybe dancing to “I Want You” in a hazy club basement, maybe lifting your head to his “How Deep Is Your Love” remix at sunset. Maybe through “Changes” with Laura V, or the wild pulse of “Somebody” — created alongside Gotye, Kimbra, FISHER, and Sante Sansone. His tracks have a way of showing up, unannounced, and staying with you. Never tired, never diluted. You can feel it — that ongoing passion for sound, for creation, for connection.
And now, after so many years, there’s a debut album. Chemistry is a full-body offering — spanning emotion, darkness, warmth. A record you can lean into, or let carry you. “Savana,” for instance, found its way into my gym routine — it’s been echoing through the gym radio for weeks now. Somehow, every time it comes on, it lifts me a little more higher. I move harder. As if the track knows exactly when to push. “Every track on this album came out of real-time collaboration. When it works, it’s chemistry.”
Chris Lake’s path has never felt forced. Born in Scotland, raised in movement, shaped by years behind decks and inside studios — it’s always been about sound as connection. Not marketing. Not performance. Just instinct. And that instinct led to Psycho — the newest single. A shadowy, bass-heavy track that strips things down and leans into tension. “Not every track has to be bright or euphoric. Sometimes tension does more on a dance floor than anything else.”
In our interview, we speak with Chris about building Chemistry, why he waited so long for an album, what drives him to keep going, and the quiet satisfaction of making something that simply… feels right.
header photo: Brandon Densley
Chris, it’s such a pleasure to have you here for an interview! Anyone who’s into Electronic music probably knows your name by now. (smiles) Is that something that still makes you feel proud when you think about it — or has it just become part of the day-to-day by now?
Thanks for having me! Honestly, I still don’t really think of it that way. I’m just in the studio or on the road, doing what I’ve always done. If my name means something to someone because of the music then that’s amazing but I try not to dwell on it too much. Keeps me focused.
Your debut album is titled Chemistry — such a powerful word. What made you choose that title?
It just made sense. Every track on this album came out of real-time collaboration. Being in the room with someone, figuring things out together, finding that connection. When it works, it’s chemistry. That was the common thread across the project.
Having a debut album after such a long career, the expectations are probably high — even from yourself. (smiles) What made this the right moment to finally release a full album? Why do you think it took so long?
It took time to get here because I never felt a full album was necessary until now. The club scene has always moved fast, so I focused on singles and keeping things fresh. But a couple of years ago I started revisiting old demos and heard ideas that felt like they deserved more attention. I gave myself the time to evolve those into something more musical. It was the right time to go all in and build a full body of work.
“There’s value in patience. That’s part of why this album felt important to do on my own terms.”
You’ve already dropped “Savana” from the album — and I have to say, I’m really obsessed. It’s my go-to song for driving down the roads. What’s the story behind that track?
That one came together fast. There’s a mood to it that feels open and nostalgic, and people have said it reminds them of early dance music stuff, but I wasn’t trying to capture a specific era. I just followed the vibe. It’s one of those that works well in headphones, on a drive, or late at night.
“Psycho” is one of your darker tracks — what drew you to explore that mood right now?
I’ve always liked a bit of edge in my sets. Psycho started with a gritty bassline and I just leaned into it. Not every track has to be bright or euphoric. Sometimes tension does more on a dance floor than anything else.
You’ve tested “Psycho” live a few times already — do you remember the first crowd reaction that made you think: ‘okay, this one hits’?
Actually, most of the tracks on Chemistry, including “Psycho,” hadn’t been tested live before the album was finished, which is a bit unusual for me. Normally I’d road-test things and shape them based on that feedback, but this time I focused on getting the studio versions right first. So the reactions are only just starting to come in now that the music’s out there.
So, what’s the most psycho thing you’ve seen on a dance floor? (smiles)
Hard to pick just one. I’ve seen people propose mid-set, climb on top of speaker stacks, full-body glitter outfits. Dance floors are unpredictable and that’s part of what keeps it fun.
“Sometimes tension does more on a dance floor than anything else.”
Alexis Roberts is also back on your new track “Falling” with Bonobo. You’ve worked with Alexis before, so there’s clearly a connection. What is it about their voice or energy that keeps bringing you back together?
Alexis has this tone that cuts through in such a human way. She hasn’t released much in recent years, so having her back on a track like this felt really special. And working with Bonobo on the production side made the process even more meaningful. We went through about ten versions of the track before landing on the final one. Everyone pushed hard to make it what it needed to be.
We know it’s probably hard to choose — but is there one track on the album that you secretly love the most, or that just feels extra special to you?
It changes all the time, but right now maybe In My Head. There’s a simplicity to it that I like. Not overthought, just honest. That one came together fast and just felt good from the start.
How do you know when a piece is done?
You don’t. You just get to a point where it feels like any more tweaking might make it worse. So you let go. I’ve learned to trust that moment more over the years.
“Trust your gut and go make the thing.”
You once said, “I love the idea that I can make a song and give people that feeling. It’s just amazing, and I feel like as the years go on, I get better and better at doing it.” That kind of passion is rare — and you can really feel it in your work. What does “that feeling” mean to you now, compared to when you first started making music?
When I was just starting out, it was about the excitement of seeing someone react to a drop or hearing your track on a big system. Now it’s more about the emotional side. If a track sticks with someone beyond the club, that’s what matters to me. That’s the feeling I chase.
You released “Changes” with Laura V back in the early 2000s — and looking back, it feels like the perfect title, considering how much has shifted since then. A lot has changed — in the world, in music, in the scene as a whole. If you had to narrow it down to just one thing: what’s a change you don’t love, and secretly wish was still the same as when you first started out, about 20 years ago?
I miss the slower pace. You had time to develop ideas, test them properly, let records breathe. Now it feels like the second you finish a track, there’s pressure to release it and move on. I get it, but there’s value in patience. That’s part of why this album felt important to do on my own terms.
If a track sticks with someone beyond the club, that’s what matters to me. That’s the feeling I chase.
Sunrise or after-hours?
After-hours. That’s where the best stuff happens.
And finally: What has been the most important life lesson for you so far?
Back yourself. This whole album was self-funded and released independently because I believed in it. If you wait around for someone to greenlight your vision, you might never get started. Trust your gut and go make the thing.
Check out Chemistry here: snd.click/ChemistryLP
Follow Chris Lake for more:
www.instagram.com/chrislake
