Thinking in Sound: George Stroud’s ‘Chameleon’ Approach to Composing
George Stroud is a young, vibrant composer who since graduating has worked in the worlds of musical theatre, TV, film, and game.
He, alongside book writer and lyricist Jennifer Harrison, has written the musical Halls - a show about eight University students who all come together as a result of their halls of residence, Flat 15b. The show grabbed the attention of film director Andy Fickman, and with him on board as director, the show is being work-shopped and debuted at the Turbine Theatre in London last year.
His ability to compose across a wide variety of styles means he has had his music featured in a range of documentaries, daytime programming and adverts airing on channels such as BBC, ITV, CNN and Disney Channel.
Alongside composing, George has acted as assistant on several films and arena tours under the wing of composer James Seymour Brett including A Wizard’s Tale (Score Production Assistant), Waiting For Anya (Music Production Assistant) and Fast and Furious Live Arena Show (MIDI Prep).
Most recently, George released a pair of new albums; Raw Emotion - Beauty and Raw Emotion - Drama. Both albums were recorded with a live orchestra at Angel Studios in London (part of the Abbey Road Studios group) and mixed at Abbey Road.
LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down and how do you like to generate your ideas or response?
George> It very much depends on what the brief or project is. If it's something to picture I will watch the film with only dialogue and FX and try to have a conversation with the director of where their hit points are and see if we are aligned or if there are any anomalies which perhaps I, or they, didn’t think of. For theatre, or a production music brief, where there isn’t any sort of visual cue, just maybe a description or an outline, I need to immerse myself in that world in order to truly deliver what is needed. Reference similar things whether its is more reading, watching or listening.
LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity - what are your thoughts on this? Do you prefer to work solo or with a gang - and what are some of your most memorable professional collaborations?
George> I much prefer working with a team of people. Composing can be so isolated and even though you may be in talks with someone taking direction/collaborating, it is very much you by yourself in the studio. I really enjoyed writing my first musical with the lyricist/writer as it was so refreshing having someone else in the room to bounce ideas off. I also really enjoy recording sessions as a composer as it too gives the opportunity to be in the room with people and bounce ideas around mid-session, whether it's with the client, producer, or artist!
Raw Emotion - Beauty
LBB> What’s the most satisfying part of your job and why?
George> When everything is approved and delivered, I usually then listen back to everything as a ‘listener’ and get to enjoy it, perhaps for the first time, as before then I am always thinking critically and/or amending things. The next part is when you see it on the TV, whether it be a library track used on a programme or an advert that required a bespoke composition.
LBB> Who are your musical or audio heroes and why?
George> I’d be lying if I didn't say the stereotypical film composers, such as John Williams, Alan Silvestri and James Newton Howard. However, I do have an eclectic bunch of artists who inspire me daily. From the likes of Elton John to ABBA, Stephen Sondheim to Queen, I have grown up with and studied all of the musical outputs of these above artists and they have shaped my writing in some way. I think its important to have such a variety of people to look up to as a composer as, typically, you have to cover a lot of genres and be somewhat of a chameleon and write what is needed for each brief.
Raw Emotion - Drama
LBB> And when it comes to your particular field, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?
George> When working with an orchestra, I do tend to go back to film composers, such as John Williams, or even classical scores as a lot of the orchestration is proven and I know it works.
LBB> When you’re working on something that isn’t directly sound design or music - are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?
George> I cant listen to anything with lyrics, otherwise I get distracted! I used to be able to listen to classical music, however, I now find myself getting distracted once I hear something new and I have to try and figure out what I just heard and why I liked it. This does mean I often listen to the same stuff if I am doing admin tasks, as then I wont get distracted by something new that I haven’t heard before.
LBB> On a typical day, what does your ‘listening diet’ look like?
George> I only really listen to music if and when there is a need to. I go through phases of ‘I’d like to work on my production’ so I will listen to loads of songs by the likes of Quincy Jones or Mark Ronson and analyse the arrangement and mix. Or if I have a ‘how could I write a Taylor Swift song?’, I may listen to her albums and again breakdown what is doing what, and for me that's how I can learn how to cover as many genres as possible. I should probably listen to more modern film and TV scores as I am a bit stuck in the past on that front…!
Recording Session of 'Simple, Loopable, Beautiful' at Angel Studios
LBB> Do you have a collection of music/sounds and what shape does it take (are you a vinyl nerd, do you have hard drives full of random bird sounds, are you a hyper-organised Spotify-er…)?
George> For me it's lots of paper scores… from Ravel to Bach’s Chorales and all the scores from sessions I have ever worked on. All ready to be picked up and looked at if ever needed!
LBB> Outside of the music and sound world, what sort of art or topics really excite you and do you ever relate that back to music?
George> I do love history and it was the only other A-Level I took alongside music and music technology. I find it fascinating how music has evolved through the ages. I particularly like folk for that as it feels even in 21st century, the writing, the harmonies, the melodies, the lyrics could transport you back in England and you can be experiencing the myths/folklore first hand.
You can read more about George here.
