Doctor Who – The Edge of Time
Due out later in 2019, the first ever full-length VR episode of Doctor Who. It’s been a childhood dream to write music for the series, and I’m looking forward to revealing more about the project and the music!
Narcos – The Game
I’m working on this one at the moment – recording sessions in early 2019, and the game should be out later in the year for all major platforms.
Sea Life Centre, Sydney
A suite of playful, diverse orchestral music written to underscore Seeper‘s work on Sydney Aquarium’s new Great Barrier Reef exhibit. Following the journey the exhibit takes visitors on, past bioluminescent jellyfish, to marauding sharks and the life of a sea turtle. With a little help from the Macedonian Symphony Orchestra…
With thanks to Seeper:
Smoke & Sacrifice
This is a gorgeous adventure game, set in a retro-future post apocalypse world. At its heart, a mother looking for her lost child , but a much bigger story unravels along the way. A pan-Asian, folky soundtrack with ambient vibes and some beautiful viola playing from Bruce White.
A mobile game with a Pirate theme – featuring some fantastic fiddle playing by Hannah fisher (Idlewild, King Creosote)
The Gruffalo River Ride, Chessington World of Adventures (2017)
The majority of this ride uses the fantastic original score by René Aubry for the Gruffalo film, but certain sections of the ride needed specific music that couldn’t be edited from the soundtrack, so I was tasked with putting together a few tracks for Seeper which would complement and augment the original soundtrack
Castle Creeps (2017 Outplay Entertainment)
A mobile tower defense game that I just managed to stop playing for long enough to write the score! Trumpet playing by the fab Sam Ewens – and strings courtesy of http://www.stringsection.co.uk/.
Darkest Day (feature)
This feature film was released in 2015, and used a gritty, indie score with analog synths, guitars & a small number of live string overdubs to sweeten the more melodic sections.
Whether it’s a melodic score, a textural one, minimalist or something entirely different – everything I write needs to have character, personality and heart. From Darkest Day’s electric guitar and chamber strings sound, to Smoke & Sacrifice’s pastoral ambient folk, to the noir-tinged, acoustic-focused score to Narcos.
Sampling is a hobby of mine too – I’m always hunting down interesting objects and instruments to record and use in the next project. Creativity, personality and an intimate and comprehensive connection to the story and characters makes the score – and the project by extension – a million times better, and on every project I see this alchemy as my main objective. Not to get a score that just ‘works well’ or ‘fits the project’ – but to discover and articulate the music you couldn’t imagine the project without.