BIOGRAPHY

PHILIP KAY IS AN AWARD-WINNING, LONDON-BASED CONTEMPORARY COMPOSER, ARRANGER AND PRODUCER.

HIS RECENT COLLABORATIONS INCLUDE WORKING ALONGSIDE DIRECTORS SUCH AS JEAN-PIERRE JEUNET (AMELIE, A VERY LONG ENGAGEMENT), JOHN HILLCOAT (THE ROAD, LAWLESS ) SEBASTIAN RICE-EDWARDS (HOPE AND GLORY, FRIDAY) RINGAN LEDWIDGE (MOST AWARDED DIRECTOR
WORLDWIDE - THE GUNN REPORT) AND SCORING A NUMBER OF CANNES LIONS WINNING PROJECTS.

KAY FOUND HIS WAY INTO COMPOSITION BY LESS THAN CONVENTIONAL MEANS. IN 2001 HE FORMED THE BAND WORKING FOR A NUCLEAR FREE CITY, KNOWN FOR ITS CUTTING-EDGE EXPERIMENTAL-POP APPROACH.

THEIR DEBUT RECORD, BUSINESSMEN & GHOSTS, RECEIVED ECSTATIC RECEPTION ON IT'S RELEASE IN 2007, CULMINATING IN A NOMINATION FOR THE INTERNATIONAL EQUIVALENT OF THE MERCURY AWARD - THE CMJ SHORTLIST PRIZE. DURING THIS TIME HE DEVELOPED HIS TALENT FOR
CONTEMPORARY ORCHESTRAL COMPOSITION AND ARRANGEMENT.

SINCE THEN HE HAS BEEN A SOUGHT-AFTER COMPOSER FOR PROJECTS WHICH REQUIRE A CAREFUL BALANCING ACT BETWEEN THE TRADITIONAL SCORING APPROACH AND THE MUSICAL IDIOMS OF THE 21ST CENTURY. IN 2014 HE WON THE COVETED CANNES LIONS / MUSIC & SOUND AWARD
FOR BEST COMMERCIAL COMPOSITION.

HE IS WIDELY REGARDED AS ONE OF THE TOP COMPOSERS WORKING IN COMMERCIALS TODAY, sCORING FILMS FOR BRANDS SUCH AS MERCEDES-BENZ, PUMA, COCA-COLA, PLAYSTATION, HENNESSY, THE GUARDIAN, CISCO AND OTHERS.

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ON FILM SCORES...

“I became interested in scoring films digging through obscure old records looking for samples for the hip-hop beats I was making as a kid. The world of film scoring of the 1960's and 70's soundtracks I was hearing were a millions miles from the formulaic approach that haD become largely the norm.”

“What captured me was the diversity of sounds; they used everything and anything to convey the emotion they required. Composers like MorriconeLalo ShifrinBernard Hermann, Roy Budd, David Shire and John Carpenter were at that time truly pushing boundaries as musicians and artists.”

“And when I finally heard the scores against their pictures it was a revelation. The coloUr and emotion that this diversity of sound helped create made it more than just music, more than just film. And it was something I wanted to be a part of.”

“Of the modern composers whose work I really admire, artists like Jon Brion, Mark Mothersbaugh, Clint Mansell, Yann Tiersen and JOHNNY GREENWOOD come to mind. They represent a school of film composing that, like their 1960's and 70's predecessors, is willing to take risks and be innovative– values which I too always strive for with my work. In a bland world of sound-a-likes, it's artists like these which continually remind me what initially excited me about film music and films in a broader sense. I hope to carry on this tradition to help make films which go against the grain, break conventions, and ultimately stand the test of time.”