I have composed the music and sound design for these Adult Swim TV shorts, with animator team Rubber House
I have composed the music and sound design for these Adult Swim TV shorts, with animator team Rubber House
I composed the score to the live theatre/dance performance by SOIT in 2013 “The Lee Ellroy Show”
‘The Lee Ellroy Show’ is the new duet by choreographer Hans Van den Broeck. A compelling source of inspiration is the autobiographical novel ‘My Dark Places’ by James Ellroy. The American crime fiction writer was haunted by the loss of his mother and the unsolved circumstances in which she was murdered. He goes on a journey of wild and abundant excess and struggles to preserve his sanity.
The story is set in the 50’s. Divorced and lonely, James Ellroy’s mother moves to El Monte, part of the endless sprawl of greater Los Angeles. The new suburbia, isolated and eerie. A sordid boiling hot place risen from the dessert, a nowhere, where she was prone to meet other lost souls and eventually did. On a ‘cheap’ saturday night she met her killer, the ‘swarthy man’, a murderer who was never found. She had a night out on her own, a few drinks, a talk, a dance and was discovered in the early morning hours in the bushes of a small dirt-road. An existence halted in the grass, a life that never blossomed.
This sudden, traumatic disappearance condemns James Ellroy to a life-long search for the mother he never really knew, a loving mother.
He embarks on a disturbing journey; from a big mouthed young bully, to a shoplifting teenager, a voyeur and finally nearly losing his mind as a homeless young adolescent. About to tip over the cliff, he devotes himself to writing. It will be his salvation and a sublimation of the trauma, a life-long battle with the omen living inside him.
‘The Lee Ellroy Show’ is a visceral and wild trip in this dark and fascinating universe.
Hans Van den Broeck takes the powerful text by Ellroy as a starting point and uncovers the obsession rooted in the work. He takes us on a choreographic trip which combines haunting moments of pure dance with intense theatrical scenes.
He brings the cruel disappearance of Ellroy’s mother to the stage, creating a poetical universe in which chaos is ultimately transformed into a eulogy of love.
I composed the music for Alice Topp’s work performed by the Australian Ballet, as part of the bodytorque program, at Sydney Theatre
The video footage as produced by The Apiary
Alice Topp, a company member who is becoming very comfortable with switching hats to choreographer, presented Scope. This work was the highlight of the program, danced by talented Chengwu Guo, Natasha Kusen and Karen Nanasca. The trio was cast perfectly, dancing like they shared a deep understanding of one another. The work incorporated projected pictures of each of the dancers onto three individual cycloramas. With inspiration drawn from a photographic exhibition and the idea of the human body as a vessel for our actual being, the work had a peaceful spirituality about it. Scope was captivating and just beautiful to watch.
I have collaborated with British Artists Zoe Walker and Neil Bromwich’s to produce a radio show that will be broadcast from a sailing boat whose surface is covered by 60,000 inch-square mirror tiles, sailing over Sydney Harbour. As part of the Launch of the new MCA building. I have composed an hour of ambient music to go along with the recorded interviews
Celestial Radio is a seductive and functional sculptural object, a radio station housed on a sailing boat whose surface is covered by mirror tiles; she splinters daylight as if transmitting Morse code messages. The Celestra: Southern Star travels literally across the high seas while conceptually exploring the metaphorical oceans of life’s big questions, both cosmic and microscopic.
You can listen to the whole radio broadcast here:
I travelled to Brussels in December 2012 to work with Anuschka Von Oppen on her work “Unnamed, my Eyes Ablaze”, which premiered at space RENOLD, Company SOIT’s new studio and rehearsal space.
A trailer for the work:
Concept/Direction: Anuschka Von Oppen
Creation & Performance: James Brown, Gala Moody, Sara Sampelayo, Anuschka Von Oppen
Music score: James Brown
Light: Christoph Donse
Assistant set: Elie Desmet
Costumes: Elise Abraham
Camera & Editing: Gert Verboven
I have composed the live score for this final part of Matthew Day’s Trilogy, INTERMISSION
Intermission is the final installment in Matthew Day’s acclaimed solo series TRILOGY, following THOUSANDS and CANNIBAL
“…complete surrender…he’s asking questions about pattern and repetition, about the possibility and oppressiveness of the human body…heart breaking” – Rebecca Saffir, The Brag
“the experience of feeling time stretch and come together…the sheer endurance and intensity in Day’s performance…rewarding.”
Megan Garrett-Jones, FBI Radio
“…imperceptible movement that eventually flows through his body in actions that could be seen as a visual version of the circular patterning of music by Philip Glass.”
Jill Sykes, Sydney Morning Herald
I wrote the music score for Victoria Hunt’s new work, Copper Promises: Hinemehi Haka – Which Premiered at Carriageworks in June 2012 and toured to London (The Place, London) in 2013
Copper Promises is a new solo dance work by Victoria Hunt exploring the cultural and physical journey of Hinemihi: a female ancestor and a ceremonial space connected with Hunt’s Maori cultural heritage. Hinemihi’s story is interwoven with Hunt’s own journey: of finding family, of reconnecting with her culture and of learning from land, ancestors and peers. with Hunt’s extended family and other artists, Copper Promises creates distinctive movement and imagery, merging feeling and gesture as they echo across landscape and through time. It is a lament, a pilgrimage, a protest for ancestral treasures – Taonga.
“A stunning production…It is as if she is channelling the spirits of her ancestors and the very land they come from.”
Julia Cotton, Sydney Morning Herald
Artists: James Brown, Densil Cabrera, Annemaree Dalziel, Hedge, Horomona Horo, Victoria Hunt, Charles Koroneho, Tess de Quincey, Clytie Smith, Chris Wilson and Fiona Winning
I created a short movie with company SOIT (Belgium) whilst they were in Sydney, around the Sutherland Shire. I filmed this and edited, and wrote the music along with Sam James and Hans Van Den Broeck.
A utopian community fell apart.
They had all abandoned their former lives. Now, whilst many of the group have left to make their way back to the city, these straggling others remain held, floating like driftwood in time. They have found an escape into a fictional life, hiding in the fantasy of a fragmented theatre, a redundant play without an ending.
Over the years they constructed a surrogate existence … in a storehouse, a place that holds them waiting, with rusting tracks and trains that never leave.
For now they have a fictional refuge. A small doorway is the only entrance to their nirvana, this other consciousness of prolonged nostalgia, where they blissfully regret that life is seeping away. They climb inside, passing through space and time, into their common state of mind. By avoiding the pain of the outside they persist in their timeless, numbing lethargy. Until the outside world calls them to face the light, to take the decision to walk right back to where it all started.
with: Kathy Cogill, Nikki Heywood, Manu Louw, Clara Louw, Tony Osborne, Kirk Page , Hans Van den Broeck , Anuschka Von Oppen, Nalina Wait
directing:Hans Van den Broeck
assistant directing: Anuschka Von Oppen
camera: James Brown
edited by: Sam James, Hans van den Broeck
sound and music composed by: James Brown
coproduction SOIT company & Sydney Performers Group
I worked in Belgium in 2011 to compose the score for this show
Premiere January 26th, 2012, Arts Centre Vooruit, Ghent (B)
Temporary), after having worked for 12 years at Les Ballets C de la B. For MESSIAH RUN! Hans Van den Broeck
gathers six dancers. As astronauts they slowly wake up from a long sleep and run around in a labyrinth.
Roaming in the back room of a collective subconscious, they re‐enact excerpts of their memory, in a last
attempt to escape from falling into oblivion.
Cocreation & performance Harold Henning, Lars August Jørgensen, Joe Jurd, Jonathan Pranlas, Sara
Sampelayo, Anuschka Von Oppen
Dramaturgical assistance Diane Fourdrignier
Sound creation James Brown
Sound research & set up Eric Faes
Set design & lights Dirk De Hooghe
Artistic assistance light Giacomo Gorini
Costumes Marion Jouffre
Coproduction/collaboration Arts Centre Vooruit, Ghent (B) ‐ TRAFFIC: Cultuurcentrum Kortrijk (B) / La
Rose des Vents, Villeneuve d’Ascq (F) ‐ Le Rive Gauche, St‐Etienne‐du‐
31/01/12 – 01/02/12 La Rose des Vents, Villeneuve d’Ascq (F)
11/02/12 Cultuurcentrum Kortrijk (B)
15/02/12 Cultuurcentrum Brugge (B)
16/11/12 Le Rive Gauche, Saint‐Etienne‐du‐Rouvray (F)
I wrote the music for the POST show “Who’s the Best?” which premiered at Sydney theatre Company in June 2011
WHO’S THE BEST?
Hi, thanks for coming. Now tell us, which one of us was your favourite? No really, let’s take a vote.
A contest of identity with no end point, no rules and no real meaning, it’s all about winning. In Who’s The Best? post are on a mission to settle an ongoing debate – the answer to the question no-one wanted to ask out loud: which one of them actually is the best?
They’ve devised a system, but the criteria keep changing. They’ve undergone months of gruelling analysis: Dolly magazine quizzes, Enneagram tests, underwear comparisons, hand-eye coordination assessments, voting, debates, surveys and pie charts. Now, they present their results.
Who’s The Best? is performance as rivalry, life as competition. It’s about the dizzying highs and the harrowing lows, when the only thing left to do is film yourself crying in the bathroom and wait for it all to blow over.
“The premise is engagingly simple. Taking a lighthearted shot at reality TV, competition for competition’s sake, and the measures we use to judge one another, post have managed to once again cut straight to the heart of the issue, without once making you feel like they’re talking about issues, or even really performing at all… Frankly, there is nothing about this show I didn’t love. See it. See it now. Did I mention it was hilarious?”
— Kate Briton, FBI RADIO
“Performance that shines a spotlight on the performative nature of our hyper-real, camera-ready personal lives… Insightful, searingly funny… Sublime.”
— Rima Sabina Aouf, CONCRETE PLAYGROUND
“Infectiously delirious… once again post raise daggy amateurism to a sublime artform.”
— Keith Gallasch, REALTIME
I wrote music for this show in Brussels – WE WAS THEM – Directed By Hans Van den Broeck.
In this performance five dancers explore the Stockholm Syndrome, the psychological phenomenon in which a hostage comes to sympathise with the kidnapper. In total isolation, cut off from the outside world, they look feverishly for new ways of surviving and living. Powerful, intense and surprising!
The premiere took place on the 7th of October at KVS, Brussels (Belgium). Afterwards it toured through Belgium, France, Spain, and the UK. For more information visit http://www.soit.info
Matthew Prest & Clare Britton – HOLE IN THE WALL
I wrote music for this performance work, which premiered at Campbelltown Arts Centre, and later on was performed at the Arts House (Meat Market) in Melbourne, as part of the NextWave Program, and then at Performance Space, Carriageworks – in Sydney
We also produced this animation for the work:
Phantom Limbs is a young and emerging dance company which was founded in early 2008 as the result of the extremely successful partnership of dancers James Welsby and Amy Macpherson.
I will be writing music for their show in 2010, titled ‘The Memory Progressive’
I wrote the live score to Matthew Day’s work Thousands, which is part of a Trilogy
“IT’S LIKE DISCO BUTOH IN A GOLD WASH. THAT’S ABOUT THE BEST I CAN DESCRIBE IT.” John Bailey
Presenting a series of quiet moments and details in an exquisitely poised and controlled performance by Matthew Day, Thousands simultaneously suggests many time zones and individuals. Its slow, unfurling rhythm creates a powerful sense of stillness, opening up new spaces between performer and audience.
Choreographer/Performer: Matthew Day
Sound: James Brown
Lighting: Travis Hodgson
Dramaturgy: Martin del Amo, Deborah Pollard, Yana Taylor
I took these promo shots for the work: