Composer & Sound Designer
Over 20 years experience working on film & TV soundtracks
Working with the Budapest Art Orchestra, May 2023

A talented composer and sound designer with a wealth of skills, knowledge and experience in scoring to picture

I have worked independently as a freelancer on film and television soundtracks for over 20 years in the varying roles of composer, sound designer and re-recording mixer.  I supervised and mixed the sound for the BAFTA nominated feature drama God’s Own Country, which also won Best Sound at the British Independent Film Awards.  In addition, my work has been recognised by my peers, with Who Killed The KLF, a documentary feature I composed the score and created sound design for, being nominated for an AMPS Award for Excellence in Sound.  In the last few years, I have become more music focused, with recent composer credits including the Apple TV series, The Enfield Poltergeist, and the highly acclaimed Channel 4 series, Evacuation

Collaborating with many talented filmmakers, I have often had the opportunity to explore unconventional and exciting fresh ideas.  As well as supervising other soundtrack professionals, I have also worked with many talented musicians over the years, including larger scale orchestral ensembles; Most recently recording with the Budapest Art Orchestra.

My educational background is in music.  I have a BA (hons) music degree, and a post-graduate MA in Film Scoring and Sound Design.

My style embodies my musical background, an eclectic mix of experience.  Trained classically from an early age, I performed in various instrumental groups and soon developed an obsession with orchestral music, listening to works by concert composers such as Bach, Beethoven, Shostakovich, Debussy, Stravinsky, and Messiaen.  In my late teens, I developed a love for more electronic-style music by artists such as Aphex Twin, The Orb, Orbital, Biosphere and The Future Sound of London.  These two contrasting instrumentations are often fused in the music I write. 

I interpret music and sound as being part of the same spectrum which often leads to a frequent blurring of the lines between these sonic powers in my work.