Sync Music Matters Podcast

In the latest episode of Sync Music Matters, I sit down with composer Nathan Klein to dive deep into his gripping score for the Sky series Atomic - a project defined by chaos, grit, and raw emotional power. From experimenting with industrial synths to navigating the psychological pressures of pitching, this conversation is a fascinating insight for anyone interested in film scoring and TV music composition. Scoring Atomic: Crafting Chaos Through Sound Nathan shares the creative journey behind developing the sonic identity of Atomic. The series demanded a score that felt chaotic and like it was part of a naughties buddy movie. To capture this, he leaned into Gritty industrial synths and Aggressive, textural string performances The Trap of Second-Guessing: Why Composers Must Trust Their Voice One of the most valuable themes in this episode is the danger of second-guessing what directors want during the pitching process. Nathan talks candidly about trying to predict expectations instead of following his instincts He highlights that directors often respond most strongly to ideas that feel authentic and bold. Creativity Under Pressure: Overcoming Mental Blocks We also dig into how pressure can stifle creativity—something every composer, producer, and artist knows too well. Nathan shares how deadlines, self-doubt, and the fast pace of TV work can shrink your creative space if you let them. From Atomic to Ludwig: Scoring Across Genres The conversation expands beyond Atomic into Nathan’s work on BBC series Ludwig and Film Club, directed by, written by, and starring Amy Lou Wood. These projects required a totally different musical touch offering an intimate contrast to the intensity of Atomic. Why This Episode Matters for Composers & Music Creators Whether you're an emerging composer, a seasoned scorer, or someone fascinated by the craft behind film and TV music, this episode offers: Practical insights into the composing and pitching process Honest discussion about the psychological side of creative work A behind-the-scenes look at two major projects from one of the industry’s rising composers Nathan Klein Website Nathan Klein Instagram

Interview with Mac Quayle on Scoring Monster: The Ed Gein Story I recently sat down to interview Mac Quayle the Emmy-winning composer, known for his iconic work on Mr. Robot and most recently Monster: The Ed Gein Story. Our conversation traced his journey from club DJ to composer of some of television’s most unsettling soundscapes. From Dance Floors to Film Scores Before Hollywood, Mac was shaping late-night dance floors as a DJ and remixer in New York. But with the advent of streaming and the death of music sales Mac decided to change lanes. That pivot led him to collaborate with legendary composer Cliff Martinez, and Mac moved from commercial music to cinematic storytelling Scoring Monster With Monster, Mac wasn’t interested in jump scares or obvious horror tropes. Instead, he built a score rooted in psychological dread - leaning into quiet tension and emotional unease - the kind that lingers long after the scene ends. The result is a sonic world that feels intimate, unsettling and hauntingly human. We dived deep into his creative toolkit of modular synths, processed textures, and unconventional string techniques - exploring the tactile noises that make strings feel alive, anxious and close to the skin. Mac Quayle Website Mac Quayle Instagram Sync Music Matters

Oli Julian - Kleptomaniacal Music - Scoring The Twits for Netflix In this episode of Sync Music Matters, I chat with composer Oli Julian, the man behind the gloriously mischievous scoring of The Twits for Netflix Known for his work on Sex Education and Catastrophe, Oli brings his signature blend of fun, rhythm and emotional punch to Roald Dahl’s anarchic world with a soundtrack he describes as “kleptomaniacal” The new film, featuring the voices of Margo Martindale and Johnny Vegas as the grotesquely dysfunctional Mr and Mrs Twit, is anything but conventional and neither is its score. Oli takes us behind the scenes of a sonic palette that includes Bulgarian choirs and what he calls “flatulent” baltic brass, giving the film an irreverent and delightfully chaotic tone. He tells the story of how, during one of his early meetings, he found himself playing the musical saw over Zoom - a moment he jokes might have sealed the deal. But beneath the playfulness, there’s a deep sense of craft and authenticity to Oli’s work. We talk about how his first dalliance with making music came in the from of a humble four-track recording of Wonderwall by Oasis. As a drummer, Oli admits he’s “rhythmically led,” and it shows — the propulsive energy of his cues often drives the emotional core of a scene. For him, groove and feel aren’t just musical ideas, they’re emotional anchors. During our chat, a familiar theme emerges - one shared by so many composers: the importance of authenticity and being confident in what you create. The Twits might be a story about the world’s most horrible couple, but under Oli Julian’s mischievous baton, it’s also a celebration of the beautifully bizarre - proof that even the strangest sounds can make perfect sense when they come from an honest place. Oli Julian Website Oli Julian Instagram (00:00:00) Introduction (00:03:00) Interview with Oli Julian - What was your path into music? (00:13:35) Creating a Unique Sound? (00:15:20) Under The Skin: Scoring The Twits (00:26:38) Working with David Byrne (00:28:30) Winning an RTS award (Drama vs Comedy) (00:34:05) Renegade Nell (00:40:46) Getting a Taste (00:49:41) Quickfire Questions

Jeff Russo - Scoring Alien: Earth. On Sync Music Matters this week, I sit down with Emmy-winning composer Jeff Russo the creative force behind some of television’s most memorable music. From the darkly playful Fargo score to his latest work on Alien Earth (now streaming on Disney+), Jeff has a gift for crafting soundscapes that challenge, surprise, and deepen the stories they accompany. We talk about scoring Alien: Earth and following in the footsteps of Jerry Goldsmith and James Horner. Jeff also reflects on his early career as a producer and songwriter, working alongside Wendy Melvoin and Lisa Coleman from Prince’s band The Revolution, and his friendship with Lenny Kravitz. Our conversation also dug into his long-standing creative partnership with Noah Hawley. Their first project together, The Unusuals, marked the start of a collaboration that has carried through to Fargo and now Alien Earth. Jeff spoke about the trust and shared vision that comes from years of working together. And then there are the instruments. The Bassdesmaphone or the Aztec Death Whistle, the unconventional tools tools which spark creativity This episode is full of insights and inspiration Jeff Russo is an Emmy Award-winning and Grammy-nominated composer, songwriter, guitarist, vocalist and music producer. Jeff has scored a plethora of movies and TV series and received an Emmy in 2017 for his work on Fargo and was nominated a further four times. Recent film credits include The Last Rodeo; Star Trek: Section 31 whilst resent series include FX’s Alien: Earth and Netflix' Untamed Jeff is also a founding member, lead guitarist and co-songwriter of two-time Grammy nominated, multi-platinum selling rock band,Tonic Jeff Russo on Instagram Jeff Russo Website

Andrew Lockington Interview - This week on Sync Music Matters I’m joined by Canadian composer Andrew Lockington whose music you may have heard recently on shows like Mayor of Kingstown, Lioness and Landman. All shows which were created and directed by Taylor Sheridan We delve into the score for Landman, Andrew's creative process and how a lot of the music was written before any footage has been shot. We also discuss the art of embracing imperfection and how the emotion behind the music is maybe more important than the music itself. Andrew also reveals why he thinks that only 50% of composing is actually about the music. Andrew Lockington is best-known for his epic scores to the Warner Bros. blockbusters San Andreas, Rampage and Journey 2: The Mysterious Island, which together have surpassed over $1 billion in box office revenues. Recent and current credits include Netflix’s epic sci-fi feature Atlas starring Jennifer Lopez and several projects with Taylor Sheridan including Mayor of Kingstown, Lioness and Landman. Andrew is always looking to push the boundaries of film scoring which has led him to recording in exotic locations like jungles of Papua New Guinea, ancient temples in Northern Japan, a volcano in Polynesia and an abandoned subway station beneath central London. Andrew Lockington on Instagram Andrew Lockington Website

In this episode of Sync Music Matters, I sit down with Jenn Anderson-Miller, a leading voice at the intersection of music, technology, and rights, to explore how How AI Is Reshaping the Music Industry from how music is made to how creators are protected. About Jenn Miller - How AI Is Reshaping the Music Industry Jenn Miller is the CEO and Co-Founder of Audiosocket, a forward-thinking music tech company revolutionising how music is licensed and used in media. With over 15 years of experience helping shape the music licensing landscape, Jenn is also the host of the insightful new series, Equitable Solutions for Creators in an AI Era. Jenn has participated in the DOJ Copyright Roundtable Sessions and recently moderated a SXSW panel on the future of music rights management. She brings a wealth of knowledge, passion, and real-world experience to the urgent conversation about How AI Is Reshaping the Music Industry. Traditional AI vs Generative AI: What’s the Difference? We begin by unpacking the difference between traditional AI, which powers tools like recommendation engines and music data analytics, and generative AI, which can now create entirely new compositions, lyrics, and even synthetic vocals. What does this mean for artists, composers, and rights holders. Will AI Replace Human Composers? Can generative AI replace human composers? That’s one of the key questions we explore. While AI is capable of generating music at scale, Jenn emphasises the emotion, humanity, and lived experience that only human creators bring - the very qualities that make music truly resonate. We also examine whether the rise of AI-generated content will push audiences to seek out more authentic, human connection through music and what that might mean for the future of music. Rights Management in the Age of AI A major focus of our conversation is the evolving world of music rights management. As AI tools become capable of generating content that mimics real artists or samples existing work, who owns the rights to AI-generated music? Jenn shares her expertise on the legal and ethical implications, the need for updated rights frameworks, and why protecting creators is more important than ever. Key Takeaways: AI will transform music workflows, but human creativity remains irreplaceable. Emotion and authenticity are the core of what makes music meaningful. The industry must modernize rights management systems to address AI’s impact. Advocacy and equitable solutions for creators are key to shaping a fair future. Interesting Article: Why AI Can’t Make Art (and Probably Never Will) https://lateralaction.com/articles/ai-cant-make-art/

Jack Halama Interview - In this episode of Sync Music Matters I'm talking to BAFTA nominated multi-instrumentalist, composer and producer Jack Halama. He’s written for numerous productions including Disney+ comedy/drama Rivals to Netflix series Who Is Erin Carter? He’s also written additional music for a host of major series including Marvel's Loki, and Star Wars spin off Obi Wan Kenobi. Jack has a diverse background that straddles contemporary and classical education. Jack draws on eclectic range of influences blending guitars, synths and classical elements to create a unique style. Rivals has a very distinct musical identity and Jack talks about the importance of making bold musical choices in order to create that identity. He also wonders whether it's also the key to winning pitches. The importance of creating your own sounds and specifically recording instruments underwater. We nerd out on what plugins and synths he uses and also talk about the underwater recordings he made for Netflix' Who is Erin Carter - he literally recorded a guitar and cello underwater which makes for a unique sound palette. This Jack Halama Interview is available wherever you get your podcasts Jack Halama Website Jack Halama Instagram

This week's episode of Sync Music Matters Doug Bryson Interview Doug - edits and curates the music for the award winning TV series Mortimer and Whitehouse: Gone Fishing Doug Bryson Interview BAFTA nominated Doug Bryson is TV and Film editor who, in his own words, tells stories with pictures that you might see on the telly. He has cut shows such as Grand Designs and 24 Hours in Police Custody but is perhaps most recently known for his work on Mortimer & Whitehouse: Gone Fishing. If you aren’t familiar with the show, it follows comedians and lifelong friends, Bob Mortimer and Paul Whitehouse as they embark on fishing adventures around the UK and share their personal and hilarious experiences of life. It’s a visual feast of picturesque landscapes paired with beautiful music which is lovingly curated by Doug. We chat about the Chuck Berry track Mad Lad and how it was replaced because it became too expensive to licence, Bob Mortimer's musical input, Flotation Tanks and Star Wars. You can find Doug Bryon on Instagram - editordoug Doug Bryson's website

This episode of Sync Music Matters is an interview with Aaron May and David Ridley about scoring the Netflix series Adolescence and the power of collaboration Interview with Aaron May + David Ridley Aaron and David are the progressive composer duo responsible for scoring Netflix’ recent psychological crime drama Adolescence Other credits include ITVs Malpractice and the 4x BAFTA nominated feature Boiling Point. Aaron and David met at Bristol Uni, where they were doing a Masters in Composition. They played in bands together before collaboratively scoring their first short in 2017. Since then they’ve gone on to create bold, distinctive soundtracks blending contemporary classical and electronic elements . Their working practice puts an emphasis on experimentation and conversation, both with each other and their co-creatives in order to harness the power of collaboration. Website: Aaron May & David Ridley Instagram: aaron_and_david

Interview with Ryan Dickinson - Ryan Dickinson has spent the last 10 years working within the advertising and video game industries as a creative director, music composer and sound designer. He’s worked for world renowned companies such as MassiveMusic, EA Games and Squeak E Clean. He has also worked on sonic branding, helping to craft award winning sound for brands such as Kathmandu, The Australian Open & Canva (winning gold & silver Transform Awards) Ryan is the director of “made by ikigai” which is a full-service music & sound agency. Ikigai is a Japanese term that blends two words: “iki” meaning “to live,” and “gai” meaning “reason”, which translates to “a reason to live.” It's a concept that encourages people to discover what truly matters to them and to live a life filled with purpose and joy. In this interview with Ryan Dickinson We discuss ikigai and finding a profession that fills you with purpose. Ryan talks about being a freelancer, the importance of making yourself stand out and how personal branding can be a key component. Ryan and I both made a major career shifts into music later in life so we also talk about pivoting and how to make it work. Ryan Dickinson website Ryan Dickinson on Instagram Jim Hustwit is the host of Sync Music Matters

Interview with Vanbur - In this episode of Sync Music Matters I'm chatting to Vanbur aka Jessica Jones and Tim Morrish. We’ll be chatting about their work on One Day, the Netflix adaptation of the novel by David Nichols which interestingly, seems to resemble their story. We’ll also be digging into their creative process, the power of collaborating and the liberating power of restricting yourself creatively. We also chat Jaffa cakes... again! Vanbur is the artist project of composers Jessica Jones and Tim Morrish. Their sound can best be described as ethereal vocals floating on a bed of contemporary and haunting cinematic score. They recently worked alongside Anne Nikitin on the score for Netflix’s One Day and also had a number of their Vanbur tracks featured as part of the soundtrack. Independently they’ve worked on shows like the long running comedy drama series Brassic, Netflix’s true crime show American Nightmare, Tinder Swindler and Jimmy Saville: A british Horror Story They are also working on a new album due out at the end of 2025. Listen to Vanbur on Spotify

This episode of Sync Music Matters is an Interview with Arn Andersson Arn Andersson is a Norwegian multi-instrumentalist, composer and music producer. In pursuing a passion as a profession we are treading the line between art and commerce and sometimes we can focus so much on the commerce that we lose sight of the passion. Arn talks about his journey and not being afraid to try new things but also pivot if necessary. Arn has some deep insights on creativity and shares his daily practice of the Morning Five. Essentially writing a piece of music whilst restricting himself to just five instruments. He developed it as an antidote to overthinking his creative process. Arn has some deep insights on creativity and shares his daily practice of writing a piece of music whilst restricting himself to just five instruments. We also chat about his current documentary project of exploring different musical cultures from around the world. He’s written music for trailers and libraries of which some credits include the Netflix natural history documentary “The Living World”, The Lego Movie (the second part) and The Netflix documentary Beckham. Arn has also dabbled in sound design, has worked with artists and labels and is the co-founder of Evenant which is a platform for providing education and tools for aspiring creatives in Music & Art. Today, Evanant has a community of over 300,000 people across over 100 countries, and an educational library of over 360 hours of content. Interview with Arn Andersson (00:00:00) Introduction (00:01:52) What was your path into music? (00:13:09) Five Layers composing technique (00:21:18) Under The Skin - Finding Rhythm (00:35:42) Cofounding Evanant courses (00:45:57) Resources that have helped you in your career\ (00:48:43) Getting a Taste - Music and art that has shaped you creatively (00:54:06) Creativity practice You can listen to Arn's Music here: Website Arn on Instagram

This episode of Sync Music Matters is an Interview with Sam Stockham the creative Sync and Licensing manager at Involved Publishing Sam began his career in music at Columbia Records as an A&R assistant whilst studying for a music business degree Post university he then began working in commercial rights and business affairs for the BBC. He later joined Universal Production Music where over 12 years he rose through the company to biome Head of Music Supervision. Whilst at UPM he worked across all forms of media, syncing thousands of hours of music in film, tv and advertising and building relationships with some of the biggest broadcasters, production companies and brands in the UK and around the world. In 2024 he joined independent music publisher Involved Publishing as their Creative Sync & Licensing Manager. As well as the publishing roster he is also responsible for sync across the groups iconic Anjunabeats, Anjunadeep and Anjunachill The roster includes a wide variety of artists, producers and writers such as Above & Beyond, Seven Lions, Dusky, Yotto, CRi (pronounced creee), Durante, Qrion, Jason Ross, Lane 8, Nicky Elisabeth, Cephas Azariah, Caitlin Stubbs, Mark Barrott, Sophia Bel, Joe Brown, Mark Zito, Dylan Matthew, and Sam Burger to name just a few. Interview with Sam Stockham (00:00:00) Introduction (00:01:58) What was your route to music? (17:21:12) Under The Skin - how has the sync landscape changed? (27:43:12) How will AI Shape Music? (30:28:00) Royalties - TV vs Online (36:54:00) Is branding important in music? (40:40:19) Getting a Taste - What music and art has shaped you?

This episode of Sync Music Matters is an interview with NYX's Sian O'Gorman about the scoring of the BBC series Dope Girls NYX is a collective of experimental vocalists and electronic artists based in London. In Greek mythology, NYX is the primordial goddess of the night, born from chaos giving birth to light and day. And it’s this duality which inspires their creativity. NYX blend traditional vocal techniques with cutting-edge sound design, and in doing so they craft sonic worlds that bridge the ancient and the futuristic In 2020 their collaborative album Deep England with Gazelle Twin was named one of The Guardian’s top ten contemporary albums and in 2021 NYX received Film London’s Breakthrough Talent Award. They have just completed their debut TV score for the BBCs Dope Girls due out in the first half of 2025 and are due to release their debut album NYX in March 2025 Some of Sian's musical influences which aren't mentioned in the show include: Her hero Joe Hisaishi "I listen to my Miyazaki film soundtracks almost daily" The Dark Crystal Age of Resistance OST by Daniel Pemberton Mica Levi's Zone of Interest score "My mind was completely blown" Colin Stetson forever! Centred around care, connection, and collaboration, the collective creates immersive sonic landscapes that traverse the full spectrum of human emotion – from the depths of grief to ecstatic joy. Their work balances ritualistic intensity with playful exploration, offering audiences a transformative experience to ground themselves in the power of sound and embodiment. Drawing on influences from psychoacoustics, somatic practices, and experimental sound design, NYX operates at the intersection of composition and improvisation. At the heart of NYX’s artistry is a distinct compositional process led by music director Sian O’Gorman. Each piece begins as a deeply personal act of vocal experimentation and layering, evolving into dynamic sonic landscapes shaped collaboratively with performers. This process blends improvisation with precise direction, resulting in music that feels both curated and alive. 00:00:00 Introduction 00:02:00 Interview with NYX - What was your path into music 20:19:06 Under The Skin - Dope Girls and the debut Album NYX 56:16:00 Getting a Taste - What music and art has influenced you? You can find out more and listen to NYX on their website www.nyx-edc.com/ NYX on Instagram

Anna Meredith Interview In this weeks episode of Sync Music Matters I'm talking to Anna Meredith MBE Anna was awarded an MBE for Services to Music in the 2019 Queen’s Birthday Honours List. She’s a genre-crossing composer and producer whose work blends the worlds of contemporary classical, art pop, electronica and experimental rock. In terms of her artist work you can check out Varmints for which she won the Scottish Album of the Year award and Mercury Prize nominated album FIBS which Pitchfork lauded as one of the best experimental albums of 2019 Recent Film credits include The End We Start From starring Jodie Comer, Paul Rudd’s dark comedy Living With Yourself for Netflix and A24s Tuesday starring Julia Louis-Dreyfus which is due to be released this year. Anna Meredith's Website

In this episode of Sync Music Matters I’m interviewing Jeanie Finlay Jeanie Finlay is a documentary filmmaker. She has made films for HBO and the BBC including four commissions for the acclaimed BBC Storyville strand such as BIFA nominated The Great Hip Hop Hoax and BIFA winning Orion: The Man Who Would Be King She directed the Emmy Nominated Game of Thrones: Last Watch which was a behind the scenes look at the making of the final series. Her most recent film, Your Fat Friend, is in cinemas now and is a documentary following author and blogger Aubry Gordon who writes about fat acceptance and anti fat bias. During the course of this interview we also delve in to Jeanie's rich musical past and her general love of creating.

Interview with Jed Kurzel This week on Sync Music Matters I'm talking to Australian singer-songwriter, guitarist and film composer Jed Kurzel Jed originally started out as the singer and frontman of the blues rock duo The Mess Hall before turning his attention to composing for film. He won the Screen Music Awards Film Score of The Year for his debut film Snowtown. The film which gained international recognition, explores the relationships between the murderous gang members behind a spate of killings in Adelaide, Australia in the 1990s Jed has since gone on to score feature films like The Pope’s Exorcist, The Babadook, Slow West and Macbeth to name but a few. In this interview with Jed Kurzel we chat about his childhood obsession with sport and somewhat unplanned foray into scoring film. Listen to Jed Kurzel on Spotify

In this week’s episode of Sync Music Matters I’m talking to multi award winning composer, artist and producer Hannah Peel Last year Hannah Peel won the Ivor Novello Best TV Soundtrack award for her score to Sky’s Midwich Cuckoos starring Keely Hawes. Having previously won awards with the Royal Television Society and Music Producers Guild She was Nominated for an Emmy for work on the documentary Games of Thrones - The Last Watch and is a regular collaborator with Paul Weller She is currently collaborating with Anne Nikitin. Also dabbles in a bit of theatre including productions at Sadler's Wells and as if that weren’t enough, she also presents the BBC radio 3 show Night Tracks Often inspired by the connections between science and music, her solo record career includes the shortlisted 2021 Mercury Music Prize electronic album, Fir Wave; 2016's Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; and connecting our brain neurons to stars in our solar system, the space-themedMary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band. A regular collaborator with Paul Weller, in 2018 she conducted and wrote all the orchestral arrangements for his shows at London's Royal Festival Hall and contributed to his new no.1 album ‘On Sunset’. A year later Peel composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an 2019 Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’. Hannah Peel Website Jim Hustwit is a music producer and composer specialising in trailer music, production music and music for TV ads

Cristobal Tapia de Veer is a Chilean-born Canadian composer and producer who shot to fame in 2013 with his score for the deliciously sinister and mysterious TV series Utopia. Since then he’s scored the 2016 film The Girl with All The Gifts, Black Mirror’s Black Museum and of course White Lotus season 1 and 2 for which he won a ‘Primetime Emmy Award for Outstanding Original Main Title Theme Music’ Cristobal brings a real sense of irreverence to his scores and seems to delight in making the viewer feel uncomfortable. If you listened to the first ever episode of Sync Music Matters when I interviewed Stephen Warbeck you might remember we talked about Cristobal Tapia de Veer and his score for the first White Lotus. So what a thrill to have the man himself to chat about The White Lotus Soundtrack You can follow Cristobal on Twitter @CristobalMusic Jim Hustwit is a music producer and composer specialising in trailer music, production music and music for TV ads

In this episode of Sync Music Matters I’m talking to Producer, Editor and Post Production specialist Stephen Haren about working on His Dark Materials and other award winning TV series and films. Stephen wears a number of creative hats so I was keen to understand how that informs his application of music. We go under the skin of His Dark Materials, the series based on the books by Philip Pullman. Stephen talks about the active role he played in re-temping the series so that music had more gravity to it. He used temp score by the likes of Trent Reznor (The Social Network), Marco Beltrami (A Quiet Place) but also preprepared cue ideas provided by the series composer Lorne Balf. Temping movies with the composers own score is something I chatted about with editor of The Crown, Paulo Pandolpho in Episode 8 We also go under the skin and talk about the very different approach to soundtracking Northern Soul, the Elaine Constantine film starring Steve Coogan. The soundtrack for which was made up entirely of original songs. As with a lot of my interviews we talk about the lack of melody in modern film score. I chatted to Isobel Waller Bridge about it in episode 5 and Nanita Dessai in episode 8. Nainita offered directors’ reticence to commit emotionally as a reason. Stephen has some fascinating alternative theories! We also chat about the pitching process for composers for major TV series and films, the revealing process of watching audience previews during the production process. And Stephen and I share our love for the epic guitar riffs of the late Dimebag Darrell of the band Pantera Stephen Haren's Website His Dark Materials Soundtrack Some of Stephen Haren's Musical Influences Logan Soundtrack Social Network Soundtrack Mindhunter Soundtrack Northern Soul Soundtrack Johnny Dankworth The Good The Bad and The Ugly Filmscore Bernard Herrman Pantera - Vulgar Display of Power Jerry Goldsmith - Alien (Original Score) Jim Hustwit is a music producer and composer specialising in trailer music, production music and music for TV ads