(Short film directed by Walter Forsyth; Spoken word by Ardath Whynacht)

Another fun, seat-of-the-pants project, this one for a short film which was part of a series presented by the Atlantic Filmmakers Co-Op highlighting short films inspired by poetry. Ardath and Walter wanted something harsh and despairing (yet ultimately hopeful by the time the poem reaches its end) to support her words without drawing attention away from them. What I came up with was simple; a synth pad hovering around a minor key, some drum loops composed of sounds of doors slamming and keys locking, and, as the mood shifts, the introduction of a cello. The combination of her words and urgent delivery, the imagery (which includes many shots of Ardath destroying the instruments of technology that both facilitate and hamper communication) and the soundscape work very well, I think.  

That Mighty Heart

(Music for an aerial performance by Caitlan Anthony)

Of all the things I’ve been asked to do over the past few years, this was one of the most unexpected and exciting! Cait is an incredibly talented circus artist, who is equally adept as a contortionist (under her stage name “Dislocait”) and as an aerial performer, working on silks and trapeze. This year, she asked me to write her some original music for her upcoming performance on “The Candy Show“, and I was thrilled to oblige. The music I came up integrates spoken word readings of poems by Wordsworth and Blake offering very different views of a city (in their case, London, of course, though the themes are universal) – having seen the live taping, I can only say that her performance and how it was attuned to the dynamics of the music were nothing short of amazing. Thank you, Cait, for the opportunity to do this!  

Contraption Max

(Music for a game produced by theREDspace)

Here are three tracks produced for an action/strategy game produced by a local company, theREDspace, detailing the adventures of a plucky robot (the titular “Max”) and his adventures facing down the evil Dr. Badweld and his minions. Groovy stuff – can’t wait to see the finished product!  

Halifax Game Jam

Evil Twin Music has been very fortunate to be involved in the Halifax Game Jam several times over the past few years. My first year out, I had the privilege of working with some talented and creative folks from Longtail Studios to create a game within a 48 hour time frame. It was a lot of fun getting to compose the music and create all the sound effects for these folks, and my hat is off to all the talent involved, particularly Kim Hansen, Clifford Roache, and Samantha Cohen-Smith from Longtail Studios, as well as Steve Vermeulen, Vincent Fellows, and Alan Jernigan. The results of our team’s efforts can be found here, and our game, Dolphin Face, is the fifth game down the list of participants.
The “Dolphin Face” Suite
In case you don’t have time to check out the game, here’s what the music sounds like. New age-y (the classic Sega Genesis game “Ecco the Dolphin” was the reference point I was given), loopable, and covering various kinds of action and emotion, from undersea frolicking to more dangerous activities like setting off mines and fighting nefarious deep-sea bosses.

The “Kpinga-Pong” Suite

Round Two of the Game Jam in 2012 resulted in the largest group collaboration – Kpinga-Pong involves the adventures of a young Zande warrior as he masters the traditional weapon of his tribe, the Kpinga. The vibe here was bit of a Hans Zimmer-esque faux epic ethnic feel, with the music become more Western, electronic, and dance-oriented as things get more and more dangerous for our hero.  

The “Yet-to-be-Named Devin Horsman Jungle Survival Game” Suite

Round Three of my Game Jam experience was in January of 2013, when I had the pleasure of creating some music for a work-in-progress game with Devin Horsman of Twisted Oak Studios. The game involves a guy trapped in the jungle who needs to gather supplies, build shelter, and simply survive a harsh and unforgiving tropical environment. Devin’s ideas for music were interesting, unexpected choices, so the music integrates some acoustic guitar arpeggios to accompany our hero’s travels around the island, some odd industrial/twangy guitar music when he’s experienced an injury, and a spooky, delayed electric piano groove as additional thematic material. Looking forward to seeing whatever other unexpected directions this project takes us…