Recently, I was talking online with a film-making friend who was frustrated with the months it was taking their composer to score a short film. This discussion eventually lead to a rather fun game where they sent me clips from previous works, along with a emotion they wanted it to evoke or a bit of soundtrack from another movie they wanted it to sound like, and I would send an original track back to them in ten to fifteen minutes.
These are some of those tracks.
If you’re looking for a music for your film or project, I can produce background scores and songs within any budget, with quick turn-around times and easy changes, and I’m almost always, as my collaborators say, “a delight to work with.” (When you work with a wide variety of people, over the course of 25+ years, there will be a couple, shall we say, exceptions.)
While my signature sound is inspired by mid-’70s electronic music, conceptual music, and the soundtracks of Tangerine Dream, Philip Glass, Wendy Carlos and Brian Eno, I do have experience in guitar-driven, less free-form styles: prog-rock, punk, new wave, Gothic rock. I also have access to a network of talented musicians that can cover an even wider spectrum of genres.
I’m also influenced by John Williams; like I’m sure true for many people my age, the first thing I taught myself to play on a keyboard as a mere child was the theme from Close Encounters of the Third Kind. Wait, it might have been Jaws.
I remember, years later, plunking away at a songbook of Henry Mancini themes, from Peter Gunn to Ripley’s Believe It or Not! which was one of my favorite collections of modern sheet music we had while I growing up.
My signature workflow is inspired by Vangelis’s set-up for Chariots of Fire and Neil Young’s composing method on Jim Jarmusch’s Dead Man. Both are very improvisational in their approach, while reinforcing themes and establishing leitmotif.
Some more music I made…
You can find even more of my music in this site’s music category.