I’ve been writing short orchestral pieces over the past two decades. In fact, this style of music is where my music creativity started. Growing up, I loved listening to film scores. Music by composers such as John Barry, Wendy Carlos, Joe Hisaishi and John Williams had a huge impact on my imagination. Whenever I focused on developing a new screenplay or short story, music from movie soundtracks helped shape the pacing of my story telling.
As technology has evolved and made available the virtual work space to create full orchestra compositions, I’ve pushed my writing to emulate the style of music that I enjoyed so much as a child. In turn, this process has been a key factor in developing my other styles of music writing. But that’s only half of the story.
When I went to film school, I discovered two aspects of film making that deeply resonated with me. I had always enjoyed story telling, but the process of building an entire world for my characters to live in revealed a new passion in wanting to become a film maker. The second aspect was in sound design, which goes hand in hand with world building. With access to computer programs to help arrange and manipulate audio, sound design became a focus in my creativity.
I once read that music is simply organized sound. And when I began working as a sound editor and music composer, I approached both departments of the work as one all inclusive sound design project. Just as digital visual effects artists use tools to make something artificial appear realistic, I use digital audio effects tools to make something artificial sound realistic. This angle on production is where the inspiration for The Unsound Symphony comes from.
My goal is to create an album that centers on the assumed ambient noises of music production just as much as the music itself. It will be a soundscape from which music will be carried, like the silhouette of a ship sailing along a foggy shoreline.
I’m looking forward to hearing the final result.