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For many new filmmakers, music is often treated as one of the final elements to check off the seemingly endless list of tasks you need to complete. In reality a great soundtrack isn’t slapped onto a film at the end like a shiny bow on your gift.

In a world fractured by conflict far beyond the Korean Peninsula, is reconciliation ever truly possible?

For this project we had 5 episodes to score that required cues to emphasise key moments, provide a framework to indicate the trajectory of the story and show development of both lead characters whilst maintaining consistency between episodes.

We get it, sourcing all the required departments and funding for your film whilst trying to produce a great quality piece of work is hard… especially when starting out.

We are currently scoring a series of short episodes for the wonderfully charming and witty director Chloe Smith for the upcoming shorts series 'Before We Graduate'

Last month we had a rather interesting job come in for a drag racing event at the Santa Pod Raceway in Northampton. Writing for marching band is always fun but when you get a chance to hear it out of the studio you never quite know what’s in store. It’s exciting and also a moment where all the preparation is done and you can sit back and enjoy the show. This time our music was combined with ripping engines, dragsters, motorbikes, and all kinds of super fast cars. Santa Pod Ra

We are delighted to provide more music for another compilation album featuring our music.

Here’s a fairly interesting request we had come in: "the DJ has done the arrangement and all the details have been cleared on their end, we just need a guide score for our live performers to follow for the gig... and that’s all I can tell you!"

Dir. JeongHoon Jang We are thrilled to be invited to work on the music for The Korean Class feature documentary produced by JeongHoon ‘Jay’ Jang. Jay studied Film and Television Production at Bournemouth Film School (BFS) and Bournemouth University from 1997 to 2000. Since then, he has found a base in London as a DoP, working on numerous broadcast documentaries and current affairs programmes for South Korean broadcasters across Europe. After filming and preparing this documen

Thanks to Scott Meath and Atomica our new production album release, Royal Dramedy, is available for licensing now! A collection of formal orchestral arrangements blending regal pageantry with light hearted mischief. Rhythmic strings and stately woodwinds underscore themes of palace intrigue, social etiquette, and aristocratic scandal. You can listen to all 16 tracks here: Atomica Music: Royal Dramedy

Through study and training in music college musicians are taught time and time again to listen for the melody.

The first trailer for Deerstalker is here!

Our most recent request was to provide music for a new album that re-imagines the iconic theme of Ravel’s Bolero in many styles.

In late September last year I had the great fortune to record with the Budapest Scoring Orchestra, one of Europe’s most sought-after ensembles for film, television, and video-game music… and it was nothing short of revelatory.

From the moment Rob started speaking it became immediately apparent that here is a guy who is down to earth, approachable, and oozes passion for his craft. But it wasn’t just a talk from a successful professional inspiring a room of future filmmakers. At the core of Rob’s talk sat key takeaways valuable to all who work in a creative sector.

Creating the score for the 2026 short film Deerstalker was an interesting one, requiring a still ambience that did not feel stagnant, allowing for a natural space and an ancient threat. The score needed to provide an unsettled tension throughout with moments of sheer panic.

So excited to announce that we have been taken on to score the neo-noir short film Single Player by Deadline Productions!

With the ease of creating a large amount of music quickly at very low cost it may seem like a no-brainer to throw a few prompts into an engine and have it churn out a solution to your musical needs. So why wouldn’t filmmakers just use AI?

The integration of VSL’s Vienna Ensemble Pro software into our workflow has become an excellent cross-platform network solution.

On the surface this may seem pretty basic. Choosing an instrument such as a sitar can instantly transport you to India, the Erhu and south Asia or the Bagpipes and Scotland. This is obvious and instinctual to everyone, musical or not, but how does instrumental choice go deeper than this?