New documentary drama with music by myself on BBC3. Will post music from it nearer the time.
A piece of music of mine called “There’s No-one in the Place”, which I wrote with Matthew Bourne for the film “Flickan” has been used on the trailer for the new Angelina Jolie film “In The Land Of Blood And Honey”.
I’ve just finished working on a score for a 20minute film by Anastasia Kirillova. I won’t say what its about, but it very beautiful. I’ll post more info when its screened next year. Here’s a little preview clip and a couple of cues from the film.
I have written and adapted 10 tracks for the new C4 series “TopBoy”. The tracks sit alongside some amazing music by Brian Eno and others. This looks like a really interesting series and definitely one to watch.
A busy summer. I have also completed a soundtrack to a film and a drama for BBC. More info to come
Here’s some music I have written for a Volvo television advert called “Command” (needs to be said in a very manly way). It sounds like Werner Herzog doing the voice over, but I don’t think it is.
Here’s a few soundscapes that I’ve been working on with Liz Purnell for a TV project.
I was trying to get a vibe that sits on the line between electronic and organic sounds.
I’ve just done some music for a trailer of the new series of a US program called Ghost Hunters, for Sci-Fi channel.
They were after a textural mood piece, not being too obviously scary. I did the sound design too.
A lot of granular synthesis in this baby!
In the winter of 2008 I wrote a soundtrack with Paul Noble
to the film or cinematic performance, “Identity of the Soul”.
Despite it being a magnificent, 5-cinema screen production (or perhaps because of this fact and the inherent difficulties of staging such an event), Identity of the Soul has not received many viewings or performances.
This is a shame, its mind blowing to watch.
I’ve recently been getting a good few emails from people inquiring about the music and whether it will be released. It is frustrating for Paul and me having music that you are proud of sitting there gathering dust, so here it is on Soundcloud in its non-5.1 format.
Here’s a news article about a film called “Conviction”, a film I scored last year, but have not been able to go public about. I’m still not allowed to post a clip due to various reasons, but there is a clip at the bottom of this article HERE.
The film starring Adam Deacon, (Adulthood, Kidulthood and Shank) tells the powerful story of Andrew (Isa) Ibrahim who in April 2008 was convicted of terrorist offences including possession of an explosive substance, intent to commit terrorism and possession of articles for terrorist purposes.
The full track from the Max Factor Ad “Foundation” is to be released for free on Cecilia Stalin’s BandCamp page for free on the 31st January!
Get it here on the day;
That is all.
Here’s a round up of some of the more wide screen film music I was working on during October last year. Some of these are for an in production American project and hilariously, one is a very rushed pitch for the new Sherlock Holmes movie (unbelievably, I don’t think I got the gig, but Hanz Zimmer was bricking it).
The ace Billy Fuller from Beak> was playing bass for me. Hope to work with him a lot in the future.
There was another great film called Conviction that I worked on last year, but for various reasons I’m not allowed to post a clip of that yet. Hopefully these will pan out into projects in this new year.
In the meantime, I’m working with Universal on a library music project that I’m very excited about. More of that soon.
The ad should be going on air across Europe anytime now. This ad will be followed by another one I’ve written and produced with the same team.
Max Factor “Foundation”
Here’s a couple of new tracks from a series of demo’s I’ve put together with Paul Noble for another secret project (this all sounds very covert, doesn’t it, its only so I don’t compromise projects in production).
I am working with Paul on more mainstream modern cinematic music, which is something I have been wanting to develop for a while. Myself and Paul worked together on “Identity of the Soul”, which you can see on the Films page.
Here’s a track (its a demo really, I might add vocals) of a track I’ve done recently called “Lost”. It’s one of a batch of new tunes that I’m working on in my spare time that I’m really excited about. This spare time is going to be reduced considerably very soon after the birth of my second child, but its on its way, I promise.
It’s for a film being shot now. I wrote it based on what I read from the script.
Lovingly called it “In the Hole”. Might not end up in the film, but here you are anyway.
For old school fans of my earlier albums here’s a rare collaboration with my old vocalist and mate Richard Palmer. I basically rinsed one of his lovely new songs and ended up with this. The vibe went straight back to 2003 but without the samples! It’s a slow burner. kind of Tindersticks meets Ennio Morricone (I wish).
More (new) vocal collaborations on the way.
Here’s another new ad spot with music composed by Broadway Project for Saudi brand Mobily. It’s all about HRH the Prince-whatsisname.
Here’s a version without the Arabic voice over or FX, so you can hear a proper burst of the original track.Full ad is on my Music for Ads page.
Here’s another new ad spot with music by Dan Berridge / Broadway Project. I also did the sound design on this one too. Again for German brand Deichmann and directed by Mehdi Norowzain.
And a longer version of the original track I composed for the ad. Bit of a light Flying Lotus vibe on this one.
Two ads airing in Germany at the moment for which I composed the music. For a joint campaign for Deichmann brand. Both directed by Mehdi Norowzain
With the original tracks that I composed for the ad (featuring a LOT of sounds made on a violin).
So, it has been out for a while, but this is a formal announcement.
You can buy the soundtrack to Fredrik Edfeldt’s truly lovely film Flickan on iTunes, Spotify, Amazon, etc.
Here’s the trailer to the original film (in Swedish);
It was quite a conceptual one for me as the music was needed to convey a variety of tones and moods on what is a sensitive subject matter (the isolation of a child) without becoming maudlin or over sentimental. We went with Piano, some very intimate cellos and violins, and lots of vintage analogue synths.
“Flickan” received two special mentions at the 2009 Berlin Film Festival.