For this scene, I played a simple two note theme on the Waterphone, combined with elements of my own voice (digitally altered) and some simple dischordant stabbing sounds to create an eerie, dreamlike atmosphere that builds towards a single clear note for the final shot.

This scene needed to condense an entire relationship into a short sequence. To create a transition from giddy excitement to loss and grief, I built up layers of simple triads running at different speeds before shifting the bass drone to a minor third for the final shot.
This scene needed to gradually ramp up the tension creating a sense of dread without revealing why. I used a simple piano melody and nostalgic sounding synthesiser to harmonise alongside one another, and build up a droning sound bed that starts very open and wide sounding, only to become more intense and claustrophobic once the character enters the room.

This scene from a wordless animation needed to show the devastating shock of receiving bad news at a hospital, and the burden of grief that follows. I used the Waterphone to create a set of descending notes that reverberate around the character, never fully fading away until they become inescapable.

This complete short film required a gradual shift from an optimistic daylight theme to a darker, more claustrophobic nightmare theme. I started with sustained piano chords, doubled on an ethereal synth to establish the boundaries of reality. I then made use of the same instruments to build up cascades of frantic repetitive notes with an increasingly dominant industrial soundscape.

An original composition under my Arcimago pseudonym inspired by Italian Giallo cinema. This piece is intended to convey a feeling of haunting guilt, and uses custom generated analogue glitch noises, orchestral samples and heavy sub-bass to build up an oppressive wall of sound in layers.

The director of this film was very keen that this scene convey a feeling of ever present dread. The idea is that no matter where the hero goes, he can never relax. To deliver this feeling, I created a series of low discordant rumbles, and cycled through them in waves to build up multiple layers of noise.
This scene called for an over the top score to match the slightly cartoonish tone of the creature effects. I made use of familiar Hollywood tropes like high piano notes, discordant trills, and arpeggiated synths to serve as a fun, and chaotic underscoring for the action.


I hold a degree in Film & Television Production from the University Of Westminster, London, UK, specialising in sound design and cinematic music composition.

During my degree I composed an original soundtrack for What's Up With Adam? (a short directed by  Babak Anvari, the BAFTA award winning director of Under The Shadow).

In 2015 I collaborated with Akira Yamaoka (sound designer and composer for the Silent Hill video game and film series). For this project, I played guitar and mandolin as part of the touring Silent Hill Live band and also performed my own work live at each event.

In 2016 I was chosen to perform a selection of my music live as the opening act for horror legend John Carpenter at a live retrospective of his soundtrack work at the prestigious venue The Brighton Dome.

In 2017, I was asked to provide a live soundtrack for Brighton Fringe Festival's 'Wilder Stories' event, creating generative soundscapes in response to stories told onstage throughout the month of May.

Some of my recent film soundtracks include:

In Reverie (Alexander Sylvester, 2016)
From Day To Night (Michael Williams, 2016)
Burden (Alexander Sylvester, 2017)
Crave (Carl Shanahan, 2017)
Gone (Tom Denney, 2017)
Origami (Hadrien Fiere, 2017)

The Demon Hand (Morgan Tegtow, 2018) 

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