“Bodytorque is about emerging choreographic ideas for a new generation of creators.” David Hallberg (Creative Director - The Australian Ballet)
Collaborating with choreographer Benjamin Garrett, I made real-time adjustments to shaping sounds that were instrumental in bringing this work to light. Working with the dancers during rehearsals via video was a seamless process. Groundbreaking in its intensity and use of electronic and processed sounds, Kids These Days is an exciting move for The Australian Ballet. This has been such an inspiring collaboration with Benjamin. I can't wait to explore more collaborations in the realm of dance!
The premiere of my work commissioned by The Australian Ballet's 'Bodytorque' is set for an 11th - 13th August run in Melbourne. I know my piece 'Kids These Days' will come under the 'challenge the audience banner’, as it's electronic, thumping and very dystopian! I'm very excited to see my first collaboration with dance come to fruition. x
How can you say more with less? Some of my soundtrack work is coming together as an album called 'Silence Loves Sound'
From my upcoming album, 'Silence Loves Sound' Vocals by Kristen Toovey
From my upcoming album 'Silence Loves Sound' Vocals by Mela vee Sadranu
In this score I recorded my own voice and built a vocal instrument in HALion to create this electroacoustic soundtrack. Animation and direction by Xin Li
Each frame is painted onto a light box. Beauty and flow are captured and the score reflects the director, Xin Li's, intention.
Sculpting music and sound for narrative and to create a sonic identity
Creating an identity for Screen Australia - sculpting sound for their sonic ID
Processing the piano and blending this with acoustic instruments created a score that feels delicate, but unsettling.
Hinting at melody to expose fragility
How can music reflect the movement of the zoetrope? By using the repetition of notes like the frames of the camera. Some of my composition work for World Movies Channel
Playing with spectral processing. I recorded 'ah' onto my phone and composed this track.
How much fun can you have with an orchestra? This much ...
'Best Short Film' Cannes Film Festival American Pavilion, 2014
'Qantas Award' winner Tropfest 2013.
Directed by Martin Sharpe.
I've been working with a number of super talented singers. The life they breath into a track is such an exciting experience and never ceases to amaze me. Here's a collaboration with Kristen Toovey.
A wonderful collaboration with author/director Lynne Vincent McCarthy to create the electro acoustic music score for this short film.
This installation was for Burning Man 2018. I AM AI is a collaboration with Dave Smith for Groove Q and the team Glenn Urquhart, Heckler and Joe Crossley (artist). Conceptual composition is grounded in art, philosophy and big ideas. It's all about looking outward to connect.
Orchestration is a fun challenge. Timbre, timing and play are the appeal in composing orchestral score, especially for animation. Here are some excerpts from an interactive theme park ride I scored in Shanghai called 'Mermaid, The Dark Ride'.
I composed the sound track for this moving short. Directed by Grant Scicluna.
Playing with real sounds to create new timbre is something I love to do. I'm working on a project at the moment where I'm taking raw audio and processing it to integrate it into my composition. Here's some spectral filtering I've been playing with using Reason 11 Plugin Grain inside Cubase 10.