I’m an Australian composer and sound designer. I started my musical career in Perth playing guitar with David McComb in Blok Music, the first incarnation of the Triffids , then after a year playing bass in a Tom Waits ‘cover-band ‘Crokodill’, I began playing guitar and bass with power-pop trio Flavors. I then joined the post-p[f]unk three-piece, Big Red Tractor, where I contributed vocals, guitar, bass, keyboards and ‘bugle’,to that band’s influential blend of minimalist trance grooves and chant vocals.
After relocating to Sydney in the early 1980s with BRT, I branched into engineering and production, working on albums and remixes for artists as varied as Machinations, INXS, The Angels, wry-core grunge band VRAG, and The Libertines, (precursors to Machine Gun Fellatio) and pop dance ‘sensation’ Collette, with DJ Pee Wee.
While working as a session musician and programmer with fellow composer the brilliant Cameron Giles, (we went on to form GANK and produced what was at that time very cutting edge productions using techniques in collaboration with the prodigy engineer Paula Jones that would be adopted by others years later all through the middle of the 1980’s) I was offered (and very gladly accepted) by Simon Leadley a position as sound engineer at TrackDown recording studios, where I worked for several years recording bands then was asked to work producing singles and albums working with local and international producers like the rather prolific Gill Norton for dozens of acts from all around Australia.
In partnership with Simon Leadley and Tim Ryan, I set up an editing system at Trackdown studio with a DigiDesign AudioMedia system, (the precursor to the now ubiquitous ProTools), and we introduced many musicians to the techniques of digital editing.
I began working in film in 1986 with a music and sound collage for the ABC documentary, The Built Environment. I have since composed and recorded numerous scores for television including Kaz Cooke’s ‘Gorgeous’ (AFI Winner), an avant-garde classical score for ‘Muttaburrasarus’ (AFI Nominee) and two seasons underscore for the commercial soap ‘Paradise Beach’. I have also composed and co-composed cues on feature films with composers Felicity Fox (Redheads and The Last Crop) and Alistair Jones (Blood Brothers, Vacant Possession, Radiance) while continuing composing for short films, television, theatre and commercials. Toward the end of 1989 I met and worked with film composer Hans Zimmer on Green Card at Rhino Studio, At the time Sydneys top recording studio, where I was invited to Los Angeles by Hans.
On a rather extended trip to London, Paris, New York, and Los Angeles, I spent time with Hans Zimmer while he was composing Regarding Henry, met some kid called JJ Abrahams, at Hans’s studio Media Ventures, before making a side trip to San Francisco to the Lucas Films Ranch to preview Backdraft, where I was introduced some guy called George Lucas, and chatted to Ron Howard – about baseball, (of course).
Here in Sydney I have also worked on sound design for Anaconda 2 and assisted Hans Zimmer on the recording of score for Mission Impossible 2.
My musical abilities have extended to tracks for Graeme Murphy’s ballet ‘Fornicon’, and to the recording of two albums with Egyptian vocalist Shadee Selim. The Shadee project took almost four years to complete, with multi-track tapes being sent between Sydney and Cairo to record live performances by some of Egypt’s top musicians. The first album, Ya Yo, was launched in December 96 in Cairo, where it was both critically and commercially acclaimed, the follow up EP Mahabouba receiving airplay on Sydney’s Drum+Bass programs.
I was invited to join a select group of post production companies working together in a wonderful post house in Redfern Sydney, where I composed music and designed sounds for hundreds of television commercial campaigns for several international directors and some of Australia’s top directors and advertising agencies.
In 2004 I composed and produced all the music and sound design for SBS television’s Re-Branding, encompassing a wide range of styles, from a melange of classical and ethnic instruments from around the world, to very abstract synthetic sound design work.
Following (yet another) trip to Paris, in 2006 I moved my studio to the glorious Bondi Beach where I continue ‘shaping noise’ for television commercials, short films and some feature film work, and have been taking on ‘The Wiggles’ with some music for children.
Toward the end of 2007 I acted as music editor and mixer (stereo and 5.1) for the TV documentary ‘Seed Hunter’
I continue to write my own compositions for a follow up to my album ‘tHings fRom iN hEre’,
Im collaborating with Trevor Richards on some new tunes, and have been doing some lecturing at the Australian Film, Television and Radio School.