Composer and Sound Designer

James Peter Brown

I am an independent freelance Sydney based Composer and Sound Designer who has worked professionally across theatre, dance, film, television, and video games professionally for more than a decade, both in Australia and internationally.

My process often involves creating music and sound in synchronicity with the development of the project, creating a strong connection between the material and sound. I have extensive experience working in collaborative, multi-artform processes and have formed ongoing artistic relationships collaborations with artists and companies in Australia and abroad.

During my career so far, I’ve been lucky enough to work on a large range of genres, from mainstage theatre, through community projects, documentary, film, television, and video games. Each project has had vastly different demands for sound design and musical scoring. This experience has developed diversity within my practice and a flexibility to my process.

Recently I have been challenged to do more with the opportunities I have as a privileged white man to help deconstruct the racist power structures that exist in the Australian screen and stage industry. In 2020 I began a mentorship program for BIPOC composers and sound designers, and I plan to continue this program this year with a new applicant. I hope that if we can increase representation within all parts of the industry, we can work towards shifting the massive inequity of opportunity created by white privilege.

I hold a Visual Arts degree from Sydney College of the Arts, and a Masters Degree in Acoustic Physics from Sydney University.

Email: jamespb (at) gmail.com

The impression of the show is dominated by the extraordinary sound design of the work, with the appearing, 'murky' presence of ethereal shapes/forces conjured by the movers/dancers, accompanying. The Sound Design of James Brown, has his imagination engaging like a sorcerer, sound and technical inventions from a multitudinous resource, thrusting the work forward propulsively and harnessing it, extraordinarily, within the atmospherics of mythical time, and still, yet, vibrating the constant evolutionary forces of the present. The aural impact was immersive and massive. I felt, was affected, to be a witness to a beginning of it 'all' in Time Present and Time Past, at once.

Kevin Jackson, Review from TANGI WAI