This past January I completed work on my first feature-length score. Director Chelsea Kane and producer Matt Pourviseh have very graciously allowed me (I dare say even encouraged me) to share some of the key music from the film, via my bandcamp page. Check out the link above!
I was thrilled to work on this not only because it was my much-anticipated first feature to score, but because I felt I was really able to create a musical mirror image of the visual and written story, from micro to macro level.
Chelsea perused my soundcloud page before I was fully onboard, calling it “wildly eclectic”, and decided I was the right fit because she wanted the score to have substantial variety from scene to scene. When I was about half-way through scoring I knew exactly she meant. In the end, while staying faithful to the film’s mood, I went from clean guitars and sine-wavey drones, to brushed drum kits, hung out in synth land for a bit, and then closed with solo piano pieces.
On a side note, during the process I discovered how much I love synths! Not just bassy, anxiety-producing dissonances for tense and ominous moments (which everyone uses from time to time), but also neutral, warm mid-range tones for transitional moments when there’s a fragile balance shifting in the story, as well as deep, scintillating pads in wide stereo for heavy, climactic moments of release between characters. (Sure, it could be cheesy when done thoughtlessly, but when it’s juuuust right it’ll give you chills.) I wonder, did 80’s movies from early childhood seep into my brain and, through time, create some sort of emotional, bottomless well of nostalgia from which to tap?