Film Sound

 


In addition to composing original music, I also work as a sound designer and re-recording mixer for both feature and short-subject programs.


Writing in Variety magazine, Robert Koehler gave us the following praise in his Sundance review of Lance Hammers award-winning debut, “Ballast”:


“Exquisite soundtrack should be studied by American filmmakers of all types, since it relies on actual sound derived from the story's evocative environment, without a drop of composed music.”

Here is a link to the archived full review at Variety. 


Michael Read of the San Francisco International Film Festival said this about my work on Frazer Bradshaws “Everything Strange and New”:


“Equally resonant is the brilliant soundscape, tempered by Kent Sparlings hushed electro-acoustic score...”  

David Parkinson of The Guardian cited only two American films in his “Top 10 Films You Probably Wont Have Seen” list, both of which had soundtracks I helped create.  He wrote this about “Ballast”:

“This grindingly rigorous and austerely authentic tale of an African-American shopkeeper trying to reconnect with his family is superbly enacted by the non-professional cast, while Kent Sparling's inspired sound design saps the spirit with each squelching footstep and doleful car journey along a characterless backwater highway. Simultaneously beautiful and bleak, warm and sombre, this is what slice-of-life cinema should look and feel like.” 

And here is a recent review citing the music and sound for Eduardo Sanchezs “Seventh Moon”:

“...Sanchez has another trick up his sleeve. The soundtrack and sound design of Seventh Moon is absolutely brilliant.  Superbly atmospheric ambient music and eerie sounds paint a picture of the surroundings ...the music jumps in and grabs the audience, spraying a very unnerving and grim atmosphere across the whole film.”



Most Recent Update: 22 May 2019