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David is a film and television composer whose work merges music and sound design into a single expressive cinematic language-scores shaped by atmosphere, texture and narrative precision. He creates emotionally charged sonic worlds that deepen character, heighten tension and shape how stories breathe, unfold and resonate long after the final frame. He believes that music can be a character itself, pulling us through a scene and adding depth, intrigue, beauty or despair. His latest film, The Spirit Lock, directed by Steven Fierberg, re-imagines the space between sound design and music and stands as a defining example of his cohesive, nuanced approach.
David’s connection to sound began in childhood, disappearing into cinema worlds carried by music that spoke directly to the soul. Morricone’s windswept poetry, Schifrin’s 1970s shadows, and the sweeping landscapes of Barry, Jarre and Vangelis shaped his early understanding that music alone could carry a narrative. Discovering David Lynch’s Eraserhead, the systems music of Steve Reich and Philip Glass, and Brian Eno’s production soundscapes revealed how experimental approaches to scoring could open new creative doorways. These influences formed his belief that music wasn’t merely part of film-it was storytelling. This philosophy led him to a Fine Art degree in Sound & Image, where he created immersive audiovisual installations that blurred the boundaries between what is seen and what is felt. Sound and picture became, for him, a unified medium-an early foundation for the visual way he composes today.
Emerging in the mid-1990s within the UK’s electronic and alternative scenes, he developed a distinctive cinematic voice as a producer, remixer and independent label owner. Drawn to the experimental edges where genres blurred, he collaborated extensively with The Prodigy, one of the strongest exponents of that crossover energy. Film scoring became a natural evolution: a medium where all sound, not just music, moves freely without genre constraints but is shaped by narrative and imagery. Alongside his artist career, David created DJ/VJ main-stage sets for the first two Virgin Festivals, composed for Nintendo, extreme sports films and award-winning feature documentaries, and wrote for couture houses including Vivienne Westwood and Hussein Chalayan-scoring Chalayan’s film Absent Presence featuring Tilda Swinton. His client work spans many large international brands, including more recently Ralph Lauren, Lotus, Peloton and Gemfields; he has been commissioned by the BBC, Channel 4, ITV, RTE and MTV, with work appearing across Apple TV, Amazon Prime and Netflix. He has collaborated with major labels and with artists from Wyclef Jean to Madonna-contributing sound design for her Sticky & Sweet tour opener.
David’s parallel path through editorial, creative direction, directing and high-end post-production-spanning supervising sound design, picture editorial and mixing-gives him a rare fluency across the filmmaking process. Having worked on both sides of the camera, he brings an instinctive understanding of pacing, emotional geometry, performance, visual rhythm and the final dub stage, allowing him to collaborate fluidly with directors, editors and post teams.
Whether scoring atmospheric drama, stylised genre, documentary or hybrid projects, he builds his scores from the inside of the story outward-imagining the final sonic world, then sculpting the music and sound backwards from that vision. His work is defined by texture, emotion and narrative intent: immersive environments designed not just to support story, but to carry it.
