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EMBRACE THE AUDIO

Below is a selection of some of the projects I’ve worked on, ranging in genre and style.
Click to play and for more information on the background and influence of each project.

I collated a load of photos from different sources of London during lockdown. I wanted to capture the emptiness and poignancy of the city when you walk through it as this bizarre time. I was inspired to write music for this collection of pictures, including small clips and snippets from various news reports and announcements. I really hope you enjoy and stay safe.
This is a piece I wrote called Into Darkness. Exploring these sombre tones combined with orchestral elements brings out a lot of inspiration. I wanted to capture the poignancy from the implications of COVID-19 over the last few months.
This is a new re-score I did for this short film from Destination Sjælland 2. Bringing in influences from the likes of Max Richter and Olafur Arnalds, I wanted to incorporate a minimalistic yet powerful approach to accomandate this beautifully shot film. All rights belong to their respective owners. No copyright infringement intended. Video used for educational purposes.
I recently finished scoring this episode of ‘Cleo Is The Queen Of Space’, a stop motion animated series written and directed by Sam Lloyd. It stars Madison Brunohler as Cleo and a diverse cast of unique characters in a Norse Mythology meets Cyberpunk universe. Sam wanted a largely electronic score for this episode, highlighting specific themes for each of the characters. It was important to work on this motivic development throughout the episode to emphasise the two worlds of the Empire and the Cyberpunk Universe of Cleo. There were also some orchestral elements in this score, bringing it back to organic instrumentation when needed. You can hear some snippets above.
I’ve recently finished scoring this short film for Director Peter Rose, titled ‘Moment of Truth’, from Nort3y Productions. This psychological thriller is about a serial killer (Theo) who’s family find out about his and his right hand man’s actions. When actions are taken aginst Theo’s friends and family from an unknown source, he must make the choice as to whether to turn himself in. Peter wanted a hybrid approach for the music, bringing in traditional orchestral instrumentation with more atonal/ambiguous harmony. The combination of this and electronic elements brought some grit to the score, heightening tension and building on the concept. You can hear a couple of snippets at the link above.
I’m very pleased to announce that I was awarded ‘Best Sound Design’ at The Midnight Film Festival in New York. This was for ‘Wolves Gone Hunting’, a film I worked on last year with Junior Day.
This is a piece I wrote recently for a string ensemble, initially meant for a quartet but for the harmonic and compositional techniques used it worked better with more players. This piece was influenced by my tutor/mentor Dr Patrick Nunn and took inspiration from the likes of Stravinsky and Bartok. I wanted to incorporate a couple of new compositional techniques here, tying in my initial creative process in combination with what I’m learning with Patrick. I hope you enjoy.
I set myself a couple of hours to start a complete full re-score of this Instagram advert from Stryyk non-alcoholic drinks. I felt inspired and wanted to create something upbeat, electronic, and slightly more syncopated to match the quick edits and cuts of the ad.
I co-wrote, produced and mixed Kaja’s debut single release, ‘Senses’. This song brings about a number of different influences from SG Lewis to Bruno Major. An acoustic version of the song is coming soon, with myself on guitar.
We’ve done a lot of work for the Military Wives Choirs in the last few years, working on their album ‘Remember’ and various live arrangements and performances. I was arranged and orchestrated all of their pieces for their concert at Cadogan Hall this October. With a considerably smaller ensemble, I needed to re-arrange and re-orchestrate the pieces from full orchestral arrangements down to a 12-piece ensemble, a task that was challenging but very rewarding. I was lucky enough to play on ‘Ar Hyd Y Nos’ as well, playing the harp part transcribed for guitar.
This is my latest re-score of an animation from Hyunjoo Song, entitled ‘RED’. I was very inspired when I watched this wonderful animation and wanted to re-score it and creative my own musical narrative. Experimenting with new compositional techniques from my tutor, Dr Patrick Nunn, I found some interesting results that I’m really pleased with.
I was assisting producers Sean Hargreaves and Michael Harwood on this latest Sigala Acoustic Session of ‘We Got Love’ featuring Becky Hill. This included assisting on the string arrangement, scoring/copying all parts, assisting engineering and producing.
I was assisting producers Sean Hargreaves and Michael Harwood on this Sigala Acoustic Session of ‘Wish You Well’ featuring Becky Hill. This included assisting on the string arrangement, scoring/copying all parts, assisting engineering and producing.
I was very inspired by the visuals of this Nike advert, so I wanted to create my own audio/musical narrative to it. Utilising my electronic influences, I wanted to create something hard hitting and energetic. Combining my love of synthesis and more traditional instrumentation, I wanted to create a hybrid of both worlds to evoke a fast-moving sequence.
I was assistant engineering for multi award winning mix engineer Goetz Botzenhardt, working alongside award winning composer Anne Nikitin for her latest project, Lost Girls. It was a pleasure assisting on this session with the London Contemporary Orchestra, learning a lot and picking up new techniques to use in my own music. You can check out the film on January 28th, 2020.
I was engineering this session for Hits Radio. They had Jax Jones in the studio recording for their Christmas Eve and New Year’s Eve shows – I was lucky enough to be engineering on it.
I play guitar in a gyspy jazz project with violinist and musician, Lettice Rowbotham. She was a finalist on Britain’s Got Talent in 2014. We play regular functions, events and gigs, either as a trio or quartet, with drums and piano.
Wolves Gone Hunting was one of the first projects of 2019, and it was a pleasure to write the music for it. Directed by Junior Day, it's gone on to win a number of awards and nominations at festivals across the globe: Best Crime Short, Best LGBT Short, Best Acting Duo, Best Student Director - Independant Shorts Awards; Official Selection, Finalist - Calcutta International Film Festival; Best LGBT Film - The Best Shorts Festival; Press release by major US news outlets, including ABC, Hollywood in 5 and NBC.
I recently wrote the music for Nowhere, a film directed by Max E Fisher. He was very inspired by the likes of Stranger Things, Mogwai and other 80's inspired synth music, alongside the techno influences. Integrating the score in a diegetic and non-diegetic way creates an interesting concept to the score.
I recently scored The Maybank, a psychological thriller written and directed by Junior Day. Myself and Junior discussed in depth how we wanted this score to sound, using refences such as Gone Girl and Dunkirk. We decided that a dark, atonal, experimental score would suit the nature of the film, accurately representing the psychotic protagonist. Heavy use of both hardware and software synthesis was used, with further manipulating and processing techniques creating unique sounding pads, textures and combinations. I wanted to combine the electronic influences with traditional instrumentation and contemporary orchestrations, blending both worlds together. I wanted to use the cinematography and editing to great effect, bringing in a Hitchcock/Bernard Herrman influence at the start of Act II, juxtaposing the picture for creative effect.
My score to Piccolo Piccione, a short animation I scored earlier this year. Using influences such as Caravan Palace and Django Reinhardt, I composed an electro gypsy jazz score to compliment the up-beat nature of the animation. As the animation is based in Italy, I wanted to incorperate some European Jazz influences as well, using mandolins, charangos and nylon string guitars. As you can hear, there are also darker parts of the animation, where I delved more into sound design and synthesis, keeping elements of the same instrumentation for consistency.
I collaborated with five other collaborators and influencers on this project, involved in many different creative industries, including music, fashion, cinematography and photography. The concept of The Dressmaker was that of perfection, being so focused on your craft that you start to turn slightly insane. This is highlighted in the film by a dressmaker who is currently working on a dress for a makeshift model. The full film is currently on the festival circuit, but you can find small snippets from it in the above clip. The use of dynamics, choice of instrumentation and production was paramount for emphasising hitpoints in this film, as music is the only form of audio narrative.
I had the pleasure of writing the music for this short film from EGAD Animations entitled Wilder Life. This film is about a young flamingo called Maisy who refuses to conform to everyday life of the other flamingos, she doesn't want to eat normal shrimp and become pink, so goes on an adventure to find new foods and colours. The instrumentation was inspired and guided by the location of the film, Kenya. As a result, various world music instruments were used such as the Kora, Balafon, Marimba, Djembe and Bongos. The combination of these with lush, underlying ambient pads (created through simple piano sounds and manipulated through sampling and the use of reverb, delay and other modulation sources) created a native child-like audio narrative that the directors and myself were very pleased with.
I was assisting producer Sean Hargreaves on this EP from artist AJ Brown, a covers EP from Decca Records, including string arrangements, horn arrangements and full band arrangements, which I was assisting producing and engineering on, as well as sorting out the charts, copying parts, and editing.
I collaborated with YoungMinds and Bold Content to bring you in this short film, 'Join Our Fight'. YoungMinds were sponsoring the Sideman vs Youtube Allstars Charity Football match, so this film was shown before the game. We decided the overall concept woul be hip-hop influenced, focusing on the young demographic. However, emphasis was still very much put on the emotional and personal impact of Alex's story, portraying a serious message reaching out to those in need. A slight change in instrumentation was used when the positive message was told, introducing a subtle 16th note arpeggiator with subtle modulation and side-chain compression. Both myself and the creative directors thought a small increase in the tempo at this moment was required to increase optimism.
This is the first track that my neo-soul project Amapola released, recording a live session of ‘Giving It Up’, an original track that we wrote with artists Havelock and Poppy Hopson, recorded at The Cold Stores. Mixed by me, mastered by GuyMac, and filmed and edited by Tiny Light Productions.
I composed the music for this advert from Aromat South Africa with the very talented lammusiCli
This is a re-score for a Roger Vivier advert, using up-beat, percussive pop influences to create a suitable soundtrack. The use of beat boxing, claps and various sampling techniques helped provide the groove in this track.
I felt incredibly inspired by this title sequence of ‘Trapped’, that I wanted to re-create my own musical narrative, using various sound design and production techniques combined with more traditional instrumentation, heard towards the end of the piece.
The Fear of Failure is a short film produced by Sulsworld and creative agency Unbxd, to promote the upcoming collaboration between the Nike NTC App and sulsworld. I composed all the music, recorded the voice over and did all the mixing on this Nike Promo.
This is the second track that my neo-soul project Amapola released in July 2018, co-written with Havelock and Poppy Hopson. Co-produced and mixed by Patch Boshell and myself, mastered by Pete Maher.
I composed the score for this short film from The Worldwide Tribe, where they build a wi-fi box and install it within a refugee camp. Using concepts from scores which I've previously done for them, I wanted to keep the signature sound with newly added textures and timbres. The score is very guitar-influenced, taking inspiration from scores such as The Last of Us, whilst incorporating ambient, soft textures using synthesis engines from Reaktor to Absynth.
I'm very proud to release this re-score that I've been working on from Stephane Couchoud Films. I wanted to see how a retro, nostalgic 80's synth soundtrack (heavily inspired by the likes of Stranger Things and Mogwai) would fit this. I heavily utilised the Arturia Microbrute on this track, using the built- in sequencer, processing it with guitar pedals and in the box.
This is my audio re-design and score of the animated short film 'Hero' from Overwatch, including all my original compositional and sound design content. This was part if my creative portfolio for my final year of university.
This is a re-design and score of 'The Cog', an advert from Honda as part of the 'The Power of Dreams Campaign'. All original music, sound design and Foley was created by myself.
Here is my re-score to the title sequence from BBC4 series 'Follow the Money'. I wanted to go a bit more experimental with this one, so I composed the entire score out of my Arturia Microbrute analog synthesiser, using some guitar pedls for extra effects and modulations. I wanted to see how going purely analog would affect my workflow and creative process.