Clinton Green (b. 1972) is an Australian experimental musician and performer. He has worked with malfunctioning turntables, Walkmans and dictaphones, and found objects as instruments.

To describe or label Clinton Green and his work is difficult as he is akin to a renaissance-man or polymath. Inventor, environmental sound artist, musician, spoken word artist and physical/visual theatre maker, are all fields of endeavour he investigates…He is continually engaged in a dialectic conversation between himself and the world that surrounds him, his art is a product of that conversation – Paul W. Blackman, “An Artist Walks Through A Doorway: an approach to liminal theatre” (May 2018).

I think the common thing throughout most of my work is that I am interested in finding new sound/music. Music that is interesting and new to me, from objects or machines used in new sonic ways. Finding the hidden sonic properties of a turntable, or a piece of metal, or a Walkman. I’m using the word “find” a lot; I think of myself as a finder of music, rather than a maker. I’m finding the music in things that we just haven’t heard yet. A lot of my earlier albums were pretty raw documents of this process. These days, I’m trying to be a bit more careful to make albums that continue to document these experiments, but as I said earlier, are more refined and even nuanced – well, that’s my aim… – Clinton Green, interviewed by Marios Moras (2024) 

Clinton has been active in Australian experimental music since the 1990s as a recording and performing artist, curator, facilitator, writer and researcher. He has worked with unconventional approaches to guitars, turntables, Walkmans, dictaphones and found objects, as tools for new forms of musical expression. He has also worked with dancers, theatre and performance artists in improvised collaborative situations. Clinton runs the Shame File Music label and has researched and written on historical and contemporary aspects of Australian experimental music. He has completed artist residencies in Taiwan (2015) and Cradle Mountain, Tasmania (2017), and has performed/exhibited in Canada, Germany, Spain, Japan, Taiwan, New Zealand, and throughout Australia.

He works on the lands of the Bunurong and Wurundjeri People of the Kulin Nation (Naarm/Melbourne) and of the Wotjobaluk, Jaadwa, Jadawadjali, Wergaia and Jupagalk Nations (Wartook), and acknowledges that sovereignty was never ceded.