Composer and Sound Designer

James Peter Brown

James Peter Brown is known for his highly evocative, original and diverse music scores and sound design. 

Having worked professionally across a large range of genres, from mainstage theatre, film, documentary, animation, video games and virtual reality, his process often involves creating music and sound in synchronicity with the development of the project, creating a strong connection between the material and sound. 

His collaborations with directors and producers are often explorations of ethereal emotive experiences that become part of the deeper exploration of character and subject storytelling.

He has formed ongoing artistic collaborations with artists and companies  such as Sydney Theatre Company (Lord of the Flies, Mosquitoes, The Deep Blue Sea, The Real Thing, Home I’m Darling) Bethesda (Fallout 4, Fallout 76, Fallout Shelter) Victoria Hunt (Tango Wai, Copper Promises) ERTH (Duba, Badu, Winter Camp, The Liminial Hour, Prehistoric Aquarium VR) SOIT (The Lee Ellroy Show, Messiah Run, We Was Them, Nomads) POST (Ich Nibber Dibber, Oedipus Schmoedipus) and Kristina Chan (A Faint Existence, Mountain, Brightness)

For 4 years he worked as the composer for the Belgian based performance group SOIT, with Hans Van Den Broeck, and performed works in Belgium, Austria, France, and the United States.

In the world of commercial music, he has composed scores for brands such as Heinz, Bethesda, Atlassian, Dermalogica, Giff Gaff, and Greenpeace.

He holds a visual arts degree from Sydney College of the Arts, where his focus was on composing and sound design for animation, and a Masters Degree in Acoustic Physics from Sydney University, where his thesis was on the physiological effects of low frequency sound on the body and mind.

In 2020 he began a mentorship program for BIPOC composers and sound designers, in order to help deconstruct the power structures that exist in the Australian Screen and Stage industries, which continues in 2021.

He is now based in Sydney, Australia.

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