Young Ones
Last year I got to work on a great little film called Young Ones. After meeting with writer/director Jacob Paltrow and seeing a rough cut, I was very excited about his take on the story. It’s a family tragedy set in the near future but it has a western dustbowl aesthetic. It’s that great mixture of small-scale, human-focused sci-fi.
Jacob was excited to push the score in a unique direction and as we talked, I knew he was up for taking chances and exploring a bold approach to the sound of his world. That evolved to include marxophones, music boxes, harmonicas, and harmonium as well as synthetics, guitars, and quite a lot of old-school orchestral fare.
I’m really excited about this one, and it marks my first time as an executive producer on a film as well as its composer. I just got back from Sundance where we had the world premiere and it was great to finally get to see it on the big screen with an audience. Killer performances, bleak and sweeping cinematography, minimal tone, and a hybrid score which I’m really happy with.
Keep your eyes peeled. In the meantime, here’s a nice review from The Playlist.

Young Ones

Last year I got to work on a great little film called Young Ones. After meeting with writer/director Jacob Paltrow and seeing a rough cut, I was very excited about his take on the story. It’s a family tragedy set in the near future but it has a western dustbowl aesthetic. It’s that great mixture of small-scale, human-focused sci-fi.

Jacob was excited to push the score in a unique direction and as we talked, I knew he was up for taking chances and exploring a bold approach to the sound of his world. That evolved to include marxophones, music boxes, harmonicas, and harmonium as well as synthetics, guitars, and quite a lot of old-school orchestral fare.

I’m really excited about this one, and it marks my first time as an executive producer on a film as well as its composer. I just got back from Sundance where we had the world premiere and it was great to finally get to see it on the big screen with an audience. Killer performances, bleak and sweeping cinematography, minimal tone, and a hybrid score which I’m really happy with.

Keep your eyes peeled. In the meantime, here’s a nice review from The Playlist.

Sampling and beat-making magic over at Ruby Red Studios with Jake Sinclair and Katie. This is how I like to do it: a new song, soup to nuts, in one day from sound-gathering and sampling to beat-making and the hook.

We should probably call this one Penny Arcade since we made most of the track with pieces recorded from a nearby pinball machine. Also, electric razors as bass-bursts for the win.

fauxfix
Here’s a snippet of a tune Katie and I wrote that Son Lux remixed.

fauxfix:

A little blast from the past, circa 2007. This is our very first collaboration with Mr. Son Lux. Little did we know there would be many more to come…

He snagged and remixed a little vocal clip from “Easy Days & I” — a song off my first solo record, Firecracker. Have a listen!