Posts tagged: Music
I recently had fun participating in a Creative Media Challenge organized by Ryerson wherein participants were given 80 hours to completely produce a media project. I worked with the same team that brought you ‘Interception’ on a film called ‘Dual/Duel’.
The score — which I had about 3 hours to write and deliver thanks to the crazy timeline of the competition — is a bad-ass action offering with some orchestral flavour and a sweet piano tossed in. I had a lot of fun with it and it flowed out very freely.
You can check out the film itself in its entirety here (a quick 5 minutes), and you’re welcome to listen to the full score on its own right here:
Here’s a cool Bond-inspired score I wrote for an advertisement competition entry by the talented Olaf Blomerus!
In keeping with my recent posting of the Interception score, I have recently put together a short album of music highlights from another that I scored not too long ago.
Q & A was an extremely compelling short thriller that I had the pleasure of scoring last year. It is the brainchild of director Olaf Blomerus and I highly encourage you to watch the film in its entirety here if you haven’t already.
The score is tense and dramatic, with synthetic and organic elements mingling together into a dark whole that surrounds the plaintive piano theme:
Now that the school year is starting up again, I figured I ought to share with you a project from earlier this calendar year. “Interception” is a festival-bound short film directed by Keith Hodder, a very talented student director and schoolmate of mine. It is a very cool spy thriller and manages to be gritty without going over the top. It was a fine film to work on and I’m very proud of the score. You can watch the teaser trailer on YouTube.
The score is dark and brooding, with industrial textures woven amongst orchestral elements and ambient stretches. Turn down the lights, trust no one, and enjoy!
Now that I’m back from Romania, I have been gearing up for another fun winter of work, and among my developments has been a series of demos for Epic World, and Vir2 Violence (among other things).
But in addition to those, I was recently approached to write tutorial articles for a site called ComposerFocus — which I highly recommend you visit. The articles will primarily focus on teaching techniques and workflows to aspiring film/game composers, as well as comparing and showcasing some of the tools we use and discussing their relative merits.
My first article introduces and explores the usage of Convolution Reverb as a sound design tool for ambient effects and you can find it HERE. More will come soon, so keep an eye on the site for updates!
Meanwhile, musically I just recently finished a series of interview scores for an initiative from my university that seeks to make new students more comfortable by giving them an opportunity to tell the world about why they chose the school, what their aspirations are, etc. I had the opportunity to provide the subtle and ambient musical scores for the interview clips, and you can check out the videos on YouTube and the music on its own right here!
Told you there’d be more updates soon!
Now that YouTube recently modified its policies to allow videos up to fifteen minutes in length as opposed to ten, I can finally put up what was easily one of my favourite little personal projects to work on this past year.
In 2009, I watched Yann Arthus-Bertrand’s magnificent documentary film, Home. I was moved by the strength of the narrative, by the staggeringly beautiful footage, and by the organic and appropriate musical score.
In 2010, as a composer seeking to respond to this creation, I decided to re-write the music as I might have done it. In the interest of brevity, I first re-edited the film into a briefer ten-minute version to keep it reasonably sized. Once that was done, I set out to write a new musical score for the cut — one that was wholly my own, yet influenced by Armand Amar’s original and by other stellar documentary composers like George Fenton.
I’ve left only the opening narration intact from the original to introduce the story — all other audio, including sound effects, is all produced by yours truly, and it is my pleasure to finally present you with the results!
So remember how I made a few of my tracks available for purchase via BandCamp not too long ago? Well it was a good test of the service and I’m quite happy with it, so I’ve decided to expand my catalogue a bit…
As of today, not only is my entire Demo Reel updated with some new tracks, but the whole thing is available for purchase on BandCamp — as an album or individually, whatever suits your fancy. Oh, and I lowered the prices. $0.70 per track or all twelve for $7.99.
Why the hell would you want to buy the music when you can listen to it for free on SoundCloud? Well, because you can take it with you wherever you go, you can support my work, and most importantly: you can get the tracks in whatever audio format you prefer — including fully lossless WAV if you want maximum fidelity.
Check it out if you like, and stay tuned for some more updates very soon!
For the past week and a bit, I’ve been happily working on an absolutely beautiful new iPad/iPhone/Web title called Shadow Era. You can find more information about the game itself on the website, but I wanted to share the music that’s been written for the game so far since I’m very proud of it.
The player below will be updated to include all new tracks as I complete them. A Cry For War and Battle!, formerly orphaned tracks, have now found themselves a home on this score, which means more people get to enjoy them!
It’s been a while since I’ve done a music post, and even though folks who keep tabs on my SoundCloud page will notice that I add things pretty consistently, I figured I’d share this one here too.
A Cry For War was written yesterday evening on a whim, and features some evocative vocal and percussion work. I’m extremely pleased with how it turned out and hope you all enjoy it too!
Best of all, if you like it you’re welcome to download the Mp3 and enjoy it on the go!
