I’m happy to have my track Urbanism feat in a 70 year anniversary trailer by 29 media for/about Svensk Scenkonst used on their recent seminar.
Very happy to have my track The Talks featured in this nice and inspiring promo Women In Distress – Empowering Families by Corporate Creative Film about Women In Distress organization and their work to stop domestic abuse for everyone through interventions, education and advocacy.
I’m very happy to have a series of tracks feat in CMA/Local Projects, int corporate and promos by Ninetynine Films.
Some of the music also got released as separate tracks on recent album Dis Order. The tracks from That Day are:
And here’s a copy of the the lines I wrote about doing the music on a guest-appearance on his blog:
The film – background
Danny Lacey sent me the almost final rough edit of his sci-fi short That Day and it was time for me to do my part on it, to write the music. I’ve had the privilige to work with Danny before, doing music to short film Love Like Hers and that collab was really great, so my expectations were high on this one.
I got the script early, a few months back and I ususally start a project with just reading through a couple of times. Though having a good grip on the story, I’ve learned it’s a good thing to wait doing any music until you actually have the footage, because there are so many factors being added that’s not in the script, ie acting, directions, ligtning, camera work, sound, editing and change of scenes due to various conditions. Well in post production Danny sent me one rough edit feat temp music another one with just dialogue/foley on and a list of keywords.
For starters – the process
It’s been the busiest times ever and being working on other projects I started with just watching the film a couple of times during the first week. This is a great way for me to mentally adjust to the project, to tune in and visualize the composing process and outcome before actually doing anything. Visualizing seem to give that extra energy needed when you’re deep in there in the creative process and it will help you make decisions easier, most recommended.
I got very strong vibes from the end part of the film, also there was this great acting somewhere in the middle that felt quintessential, furthermore I liked the intro with temp sound Danny sent me. These were my starting points for building the score.
The sound palette
To give a project definition and recognizable character I like to work with a limited set of instruments and sound, similar to the painters palette of colours. My choice fell on these:
Cither – for the suspenseful ’in the woods’ – scenes.
Piano – for some of the dialogue parts and a few ”reflective” notes.
Synth combo – Using ”Iris” and ”Massive”, for creation of a rich multilayered fantastic giant chord.
Orchestral drums & strings (sample based) – for additional depth using VSL strings, Symfobia and Logic EXS24 .
Sound FX – from my own private library, a customized reversed glass hit effect.
Giant reverb – 2C Aether , fantastic & smooth sounding , especially for very long reverbs.
Production session 1 – suspense in the woods and the ending
I wanted to try out the ideas I already had in my head. Early when seeing the rough I got this Em9 ringing in my head and there was this tempo in the scenes and edit. I found 164 bpm in 6/4 worked nice for the suspenseful parts and that also worked great as sync grid for the rest of film and I set the key to Em.
First session was recording the cither with felt mallets, I already had this sound and groove in my head so it was just a matter of doing a good performance. I’ve got good use of my long experience from working as a musician to drama performances in the past. It’s quite easy for me to follow, to improvise and play along with a character. Did three takes in various lengths, think I used the third one in the end. I added a simple drum pattern to give the cither a bit more weight and pulse, done –think it worked really well with the most active woods scene.
Secondly getting the ending right, was crucial becacuse my plan was to recycle it in a lighter, filtered and modified form in the intro. I was using ”Iris” for laying out a first light, dreamy, a bit nervy pad to follow and emphasize the dialogue, acting, camera work, lightning and that very special ending.
Prod session 2 – intro and mid dialogue
I got the preliminary ending and did some filtering to it. Added that to the intro. Also added a single piano note with an enourmous reverb tail, marking some kind of awakening form in the end part, reversed it and used it as a long swell in the intro. On top of that I played a few piano notes, giving a hint the Em9 idea, not too obvious though. I did an abrubt end to it and liked the vacuum bridge to scene 2.
I kept adding piano to (imo) the central dialogue scene, rubato arpeggio chords adding depth to what’s going on, decided to add strings and morph the piano notes into a dramatic reverb tail as well to build some tension into it.
Prod session 3 – the ending
I had the previous prel synth pad idea on this. Now it was time to make it gorgious and stunning. So I started to add layers from the ”NI Massive” synth. Recorded it in layers, used chorus and early reflections to make it bigger and smoother sounding, re-recorded the whole thing for a slight doubling effect. Finally added strings to the arrangement and a thrilling piano pattern at the end. The goal was to make it stunning, magic, to really move the listener, hope I’ve succeded with that.
Prod session 4 – the woods, multiple scenes
I used the recordings from session one, pitched them down and also did a pitched down reversed version. It worked surprisingly well and I’m very happy to recycle in this manner to keep the ideas tight and economic. In one of the scenes I also used a customized reversed glass for a great sync effect. Finally added a playful beat to one of the scenes.
Prod session 5 – all together, mixdown
I was fine tuning the envelope curves, matching them to both subtle things in the acting and more obvious focus or zoom effects. Then it was all about setting the right levels on everything and doing a final check before sending it over Danny.
Prod session 6 – Like it but.. alt version
Danny was very happy with it except that abrubt end to playful beat in scene 2, so I replaced it with an alt version of the beat underneath the cither in combo with sustaining the notes from the intro scene. He was right, I think the result got better.
All in all 20h was spent effectively, but I passionately lived/breathed/thought/worked with it mentally for about 8 days.
To me, my role in this was to bring up and support the meta level to the story – the end it’s just the beginning. I really enjoyed working with Danny and indirectly the team behind him, hope to do that soon again.
I strongly believe there should be more of this example in any school-system, experts/pros sharing skills and knowledge with youngsters is the way to go. Enjoy this very nice short promo Learning to Inspire by Paul Zetter for the Early Childhood Centre at the United Nations International School in Hanoi. Feat track Descriptions
Enjoy this very nice short Trade and Consumption in 2030 by Goebel und Mattes feat my track Wings, about: How do trade and consumption develop over the next 20 years? How and where do we want to purchase in 2030, and which impact do we have on it?
In cooperation with Migros and the GDI Gottlieb Duttweiler Institute, SAP has analyzed emerging trends and outlined possible future scenarios regarding retail and consumption.
From heir YouTube page: “Antoine Boisselier has stared across at the Belledonne Mountains his whole life. He’s always dreamed of laying ski tracks on their difficult-to-access slopes. Two years ago, he and a group of close friends launched their paragliders from across the valley and took a chance.”
Enjoy track Lots and More in nice TV-Ad by Nikolaj Jungersen, Playground Production for/about UWCT Copenhagen Gran Fondo 2013 in Copenhagen and Elsinore May 10 and 12.
UWCT Copenhagen Gran Fondo 2013 in Copenhagen and Elsinore (Helsingør) May 10 and 12. Ride Like a Pro in the 28 km Time Trial in Elsinore on May 10th or the 145 km Road Race in Copenhagen on May 12 and get the chance to qualify for the UWCT final in Trento, Italy where all cyclists competes for the rainbow World Championship jerseys in different age groups. See more at: www.copenhagengranfondo.com
..and here’s also a longer 80s internet edit
I’m very happy about having my music placed in Six Hours a Day, a short film made by Tatu Blomqvist and Jarko Mikkonen by/for the Finnish Red Cross, Zimbawe Red Cross, International Red Cross and Red Crescent Societies. Feat the songs Timeless Light, REM Bells, This Now and Rays of Light.
From the Finish REd Cross Vimeo page: “Lack of access to water and sanitation and poor hygiene is one of the principal causes of death and disease worldwide. It also leads to loss of productivity and forms a major barrier to development. This video tells a story of two women: Sissylia Mhaka and Barbra Kurado who live in the rural areas of Zimbabwe, where over 30% of the population don’t have access to safe water and over 50% are living without proper sanitation.
The Red Cross water & sanitation project in Mt Darwin area completed in 2010. The second water & sanitation project is focusing upon the rural population of Chivi.The project is funded by the contributions of the European Union – ACP- EU water facility third call, Finnish Red Cross and British Red Cross.”