I am a Los Angeles-based musician. My background begins with the study of music theory at the Royal Schools of Music in the UK, and extends through nearly 20 years of various bands, production and engineering gigs, and most recently has led to composition for film and television.

I have a particular interest in working with unconventional instrumentation and arrangements. I enjoy working with processed guitars and bass, tape loops, found sounds, and musique concrète elements. Combining these uncommon sounds with complex melodic and harmonic concepts to create music that is strikingly cinematic, yet has a unique aesthetic.

For this reason, I enjoy working with filmmakers who are like-minded artists, looking to extend beyond the traditional. Of course, dialogue between composer and filmmaker is key, and communication during the scoring process ensures that the filmmaker's vision is what is directly expressed through the music.

My approach and aesthetic is not for everyone. I much prefer working with a producer or director who appreciates and embraces the unconventional. It's important to keep in mind that by unconventional, I don't mean jarring, clangorous, or dissonant, necessarily; rather a way of looking at the music that is not formulaic. Being open and receptive to the use of unusual instruments or spartan orchestrations, for example. Composers who can mimic existing styles and film music are plentiful. Those who can take things a step further and innovate are less so.

This does not mean I have an aversion to the orchestra, or any other instrument or style. It means that my true desire is to create something unique, powerful and moving every time, and that working with someone with similar ideals is key.

It's also important to understand the implications of my extensive engineering and production background. It's because of this background that you can expect production quality that is a cut above many independent composers' capabilities. Recording a real orchestra is well beyond the budget of many independent filmmakers, so it's important to be able to coax convincing, non-distracting, non-"synthy" sounds from quality sampled orchestras (unless these effects are desired.)

Please feel free to contact me with any questions. I am open to most projects, and enjoy conceptual discussions about the potential of music in film.

Continue to passionately create...

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