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Audio Landscape
Intelligent Soundcraft
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INFO
COMPOSERS, SONGWRITERS, ARRANGERS & THE EXPERIENCE OF LIVE MUSICIANS
Audio Landscape has the versatility that classical training can provide; Joanna, one of AL's composers had been offered a place at The Birmingham Conservatoire for Composition but turned it down when she was told she would have to go back to attain an L.L.C.M. Says Joanna: "I couldn’t face another year in a music institution which only taught classical music - I wanted more so I joined a band instead - “Quill” - the band still play was also where fellow Audio Landscape musician and songwriter, Phil Bates was a founder member.
"Quill" reunion gig in Birmingham, 2005
Discovery Channel have used my music for two TV series in recent times; “Bear Sanctuary” (Title and beds - I was chosen over two other well- known composers). A series about the rescue of Eastern European bears from horrific conditions. Some of the infamous 'Russian Dancing Bears' - (there's a euphemism) were also rescued and safely released into a sanctuary in Romania. I remember I was asked to - "write some music to castrate bears to" a necessary evil to keep the numbers down and a proud moment for me to have music on American T.V. for the first time.
“My Horror Home" was about the disasters befalling homeowners in the United States - there were some howlers and the brief was simple: 'Simpsons/Circus but still reflecting the seriousness of peoples' unfortunate predicaments'. You can hear one example on the Music page.
Audio Landscape has written 5 songs for a Spanish language music CD. A great project which gave full reign to imaginative processes - songs were in Spanish, which proved to be a very interesting experience but as music is a great way to learn rhythm and sound identification it's perfect for helping with foreign languages.
As an arranger, I have experience in vocal/harmony, band, string quartet and orchestral pieces. Here is a small example taken from the ELO track "Standing In The Rain" - which was transcribed aurally. Original arrangement by Lou Clarke.
The writing capability covers a wide range; Audio Landscape has worked in commercial production doing copy as well as composing, arranging and performing jingles for UK radio stations. Paul Farrer was my engineer in those days - a far cry from the lofty heights of "Weakest Link" and PS3, 'Dancing On Ice' and the new TV show '1000 Heartbeats' to be screened on February 23rd - which Paul devised. Pop songs, vocal pieces, piano pieces, ensemble and orchestral arrangements are all key areas where we have experience. One of the largest scale pieces was the Musical Drama, 'CELT'
"CELT"
“CELT” - is a Musical Drama - i wrote the original story and all music and lyrics and contributed in very small part, to the script. The main dramatisation was done by my friend, Margie Douglas who is twice winner of 'The Drama Association of Wales' prize. I had a dream team of core people working with me - i could not have done it without them. "CELT" was performed over 4 nights at Theatr Brycheiniog, Wales, UK with a cast of over 70 but which involved over 200 people county-wide. One song, "Only In The Stillness Of The Night" reached the final in ‘Best Song’ category in “Musical Of The Year” in Denmark. Bjørn Ulvaeusand Julia McKenzie were two of the judges that year. On this project I collaborated with other musicians and theatre producers including Sue Best (ex. Royal Shakespeare Company and Sharon Lamb who had previously worked with Cameron Mackintosh. As I write, interest is being shown from 'The Screen and Sound Archive' which forms part of the National Library of Wales.
"CELT" was the result of a successful collaborative process and working partnerships with Arts organisations, individuals and private companies. Post production, £10,000 was awarded to Red Kite Theatre in recognition of outstanding service to Arts in Wales. This was a large-scale project and the commitment from the core production team through to the youngest cast member (12 years old) was rock solid. I was told by the ex Channel 4 writer and Arts professional, Peter Cox that he would not attempt a project such as "CELT" for less than £80,000. We did it for £20,000.
Originally, "CELT" was conceived as a film and I still intend for it to be made into a film but the opportunity to produce it as a live performance piece came first. I did vast amounts of research and made sure that accuracy was maintained wherever possible; the Celts didn't write anything down and so primary sources are hard to come by. Much of our knowledge is taken from Roman accounts. All the names were real, documented Celts and the heroine, Sequanna, is the reason that the river Seine is so-named - it derives from 'Sequanna.'
On the strength of "CELT" I was chosen as one of 10 businesses to go to Seville in 2007 as part of a Welsh Music Foundation team promoting music produced in Wales. There was considerable interest from Australia for a production of "CELT"
I had a publishing deal with RCA/Arista for a year before the person that signed us retired - we were “let go” when the new broom came in - a common policy in those days and a wholly unpalatable one which squandered the potential of many artists.
