Here is the title music I wrote with Andy Jones at 2bit recordings for Netflix / Tiger Aspect.
Thanks to Will Street for some gorgeous fiddle on this Italian ditty of mine - scored for Gino D’Acampo’s new Iceland Commercial. Find it on a telly set near you, probably in the Cori ad break.
Here’s our #scifilondon #sfl48hr challenge competition entry. Congratulations to all the actors for their excellent performances and a solid production crew, and of course special praise to Writer / Director Rafael Cortes and Producer / Co-writer / Editor David Cohen who above anything else, and despite being in a different geographical location to me were my support team in staying awake and offering unadulterated constructive feedback!
On a personal note, I can’t believe we actually made the deadline, I didn’t start writing the music til 1am before my morning deadline, only had sound design prepped by that point to synch to final cut in the early hours too.. it seems we cut it closer and closer each time, but I’m really happy with it and whilst it won’t be perfect, the mix is darn good all things considered! Phew! 💥👊💥
So chuffed that all the hard work has paid off and we get to develop the award-winning short into a feature film - can’t wait to get my teeth into scoring it! Congratulations go out to David Cohen and the team!
Very excited for the team and David to hear that The Dreamsy has won a very substantial amount of financial backing through That Film Festival's process to develop into a feature film! With funding for films becoming increasingly difficult to obtain, this is fantastic news and a dream come true for all of us creatives involved, we really can’t believe it, and David Cohen, director and writer was apparently speechless at the award ceremony in Berlin, I don’t blame him, although I do hope he thanked his mum! Watch this space!!
..Of course I would’ve loved to have written the music for the infamous John Lewis Christmas commercial had they asked, however, you know, I’m not Elton John ‘n all that.
However, I was very pleased to be commissioned to write and perform the piano foley for the commercial. In the end you can just hear my rock n roll piano and glissando faintly behind the main track, helping to reinforce and tell the story of Elton playing in bars as a teenager. I also created and performed piano foley for the recital scene that follows of very young Elton - although you can’t really hear it in the mix, I suspect that as it was much gentler visual action, it wasn’t really a necessary part of the sound design and was pulled right down or chopped. Either way, it was both the best paid glissando I’ve ever done and a contemporary cultural honour to be a very small cog in the machine that has become the John Lewis Christmas Commercial! Here it is below if you haven’t seen it, though I don’t know how you could miss it, even by accident!
Was absolutely lovely to be commissioned to write the score, songs and sound design for this wonderful show from OnTheButton theatre company, previewed at The Albany Deptford last week. Such a fantastic opportunity to write with unlimited imagination guided by fabulous and talented director Ben Hadley. I mean, who normally
gets to write a song for a Space Dinosaur! Will post a clip once I get some vid.
This July, me and the team undertook a ‘best of’ style show of all the coolest, funkiest and most dramatic music we’ve written over the years with Southwark Splash, called ‘Splash Anthology’, Check it out below; my personal favourite moments are songs ‘Total Eclipse at 15m15s and ‘The Fighter’ at 21m40s.
We only bloody won the 48hr sci-fi challenge didn’t we! Can’t believe it but seriously chuffed and a great night with Sci-Fi London at Stratford Picture House, fab work by all and well done to all the other shortlistees, my particular favourite was 2x2x2. Here’s our film #UnderDuress again if you missed it; and do me a favour and try and watch it with headphones! Rx
Check out this year’s entry ‘Under Duress’ for the notorious film making event of the year - producing a film in 48hrs from start to finish with various stipulations, dialogue, props and a title given to you on the spot. Congratulations to the team (DavidCohenDirector.com) who got me a locked cut of this by 1am just 12hrs or so before the final submission deadline. An intense all-nighter creative session ensued crafting the story-telling through bespoke Sound Design and Music. Talk about pressure! Enjoy. R
Feeling excited for the 2 day (no sleep) session I’m about to start on sound and music for our third film for this competition. Anyone who’s done this will know what I’m talking about but if not here it is; fully produce a film upto 5mins in length using key information (title, line of dialogue, prop, action) given to you on the Saturday morning. There are materials available for post production but we go completely original with everything so I have to do an entire dialogue and sound fix, any overdubs, foley where needed, creative sound design, score and mix and master. I’m getting edited sections from Sunday morning but not getting a complete picture locked cut til 7:30 pm, which gives me through the night to complete my end. INTENSE!!
Rebel of the Keys has been selected for the DOCfeed festival in The Netherlands that takes place from 23rd to 25th Feb. If you're in the region and would like to come to the screening let them know. Go to www.rebelofthekeys.com
I'm rolling out a new production album called 'The Fund', music loosely focused on financial crime and fraud themes. It's a variety of tempos, tonalities and sound sources both electronic and acoustic so has some real warmth and depth. I've endeavoured to create a variety of textures, including both melodic or groove sections, hit points, crescendos and breakdowns whilst still retaining a music structure and general arc.
Check out the trailer below for a 3min taster of over 25mins of music from the album.
Of course, in the edit, should any of the tracks prove tricky to piece together, they can be fully customisable to picture fairly quickly my end and in the interests of getting this music used and out there, between you and me I'm really happy to make that process as affordable as possible.
For the various SYNC options let me know on a project by project basis, but will endeavour to meet budget requirements wherever possible.
Here's a tracklist and link to the album as MP3s and 24bit 48Khz WAVs:
PRS details and track names (please forward to production for logging if applicable)
Composer: Ross Alexander Power
CAE number: 503901978
1. Shoreditch Banker
2. Yacht Fulla Cash
3. AfterParty Sunrise
4. Multistorey Blood Diamonds
5. Sanction This!
6. The Fixer
7. Brighter Futures
Thanks for listening!
The feature documentary 'Rebel of the Keys' is being screened on Thursday as part of the Open City Documentary Festival at Crouch End Picturehouse on Thursday 7th September. Try and get along to see it if you can. Follow the link below for more details.
An important part of what I do involves some really essential creativity within the education world in partnership with a fabulous arts trust called http://www.itsallaboutthemusic.co.uk/
This is our most recent show - a true celebration of the power of music, dance, poetry and most importantly, collaboration.
'How High the Moon' - Premiered at The Royal Festival Hall 3rd July 2017
I feel very privileged to be part of such a talented team in creating this work.
Finally got round to watching some of this 6 parter with my youngest daughter Mimi (4yrs old) who loves art - who says we have to only spoon feed our children CBeebies 'Do You Know?' (music by me 😉) after all.
A musical extravaganza involving over 500 young performers accompanied by pro musicians/dancers/actors premiers at The Royal Festival Hall Monday 3rd July 7pm. Tickets available at the box office. Music and show concept by Laura Howe and myself. Choreography by Natasha Khamjani with poetry/narration by Mark Charles. Produced by Its All About The Music Trust and Southwark Music Hub.