Interviews

The Harder They Fall director & composer Jeymes Samuel on breathing new life into the Wild West

Rob Simonsen on answering the call to score Ghostbusters: Afterlife

Geoff Foster on the art of engineering

Robert Aiki Aubrey Lowe on sculpting sound for cinema

Brent Kiser on his role of sound supervisor on Everything Everywhere All at Once

Holland Andrews on expressing vulnerability, distortion & the power of voice

From TikTok to A Grammy Win and Beyond: A Conversation with Barlow & Bear

Sam Slater on bringing emotion into experimental composition

Music Supervisor Juliet Martin on shaping the musical landscape of Conversations With Friends and Normal People

Félicia Atkinson on the architecture and ecology of new album Image Language

Music for social action in West London

The Boys composer Christopher Lennertz channels chaos for the Amazon Prime hit

Sonic autodidact Hatis Noit on how she created her debut record using just her voice

Rap’s understated primo producer speaks Lunchboxes, old hard drives and EastEnders.

John Debney on returning for Hocus Pocus 2 & how he’ll never stop learning

SEPTEMBER COVER FEATURE

Sarah Davachi on listening as a compositional process

Director Lila Neugebauer on shaping the sound for her debut film Causeway

Makaya on improvisation & experimentation for new album 'In These Times'

'Bullet Train' composer Dominic Lewis on the blending of animation & live-action scores

Lamin Fofana on exploring the world through field recordings

Dorian Concept on looking back for inspiration on new album 'What We Do For Others'

Yair Elazar Glotman on how shirking off tradition led to new LP, ‘Speculative Memories’

FLOHIO exploring honesty through rap

Abel Korzeniowski on why film score deals with the emotional, not the rational

Trent Reznor and Atticus Ross on emotively scoring 'Bones and All'

NOVEMBER DIGITAL COVER

Producer & composer Dot da Genius on his journey to ‘ENTERGALACTIC’

Michael Giacchino on scoring six films this year & making his directorial debut

Natalie Holt reflects on her scores to date & why she loves composing

Podcast

Animal Collective on wading into new waters to score Elegance Bratton’s 'The Inspection'

Rob Simonsen on embracing empathy with his score for 'The Whale'

Anja Lauvdal on working with the world around her to create her debut album, ‘From a Story Now Lost’

Hildur Guðnadóttir on balancing Oscar-winning scores with sonic exploration

JANUARY COVER FEATURE

Hank Shocklee on three decades of scoring & his new film 'YE!'

Four tools The Newton Brothers have been using in their compositions

Justin Hurwitz on seeking one-of-a-kind musicians to perform his score for Babylon

Todd Field on his meticulous use of Hildur Guðnadóttir’s score for his new film ‘Tár’

Director's Perspective

Composer Jo Yeong-wook on shaping the sound of Park Chan-wook’s films

Experimental artist Fågelle on turning negativity into beauty for new record, 'the Swedish Rage'

Yazmin Lacey on celebrating imperfections on debut album Voice Notes

Gustavo Santaolalla on the enduring power of The Last of Us

MARCH COVER FEATURE

Laura Misch on how she redefined her craft & developed her obsession with 'clouds of sound' for her latest album.

SEPTEMBER COVER FEATURE

A quick Q&A with 'How To Have Sex' composer James Jacob

Composer Miguel Atwood-Ferguson on the importance of authenticity and artistry

Ludwig Göransson on finding inspiration in collaboration and composing Oscar-winning scores

NOVEMBER COVER FEATURE

How 'Poor Things' composer Jerskin Fendrix embraced the unorthodox with his debut score

JANUARY COVERY FEATURE

For Your Consideration: The 2024 Awards Season with Composer Magazine

Aska Matsumiya on modular synths, crystal bowls and scoring to emotion rather than visuals

How sound designer Johnnie Burn mastered the art of immersive sonic storytelling

Leon Vynehall on finding creative liberation through composing for the screen

FEBRUARY COVER FEATURE

Kelsey Lu on servicing story with sound for her composing debut

FEBRUARY COVER FEATURE

Eímear Noone on conducting, composing, and the unifying power of video game music

APRIL COVER FEATURE

Iwájú composer Ré Olunuga on truth, advocacy and finding meaning in the music

MAY COVER FEATURE

Music supervisor Trygge Toven on shaping perspective & setting the tone for Fallout

Carlos Rafael Rivera on scoring Griselda and the importance of self-motivation

Bat For Lashes on music, motherhood and the art of allowing ideas to grow

JUNE COVER FEATURE

Steve Hackman on fusing classical and contemporary for 'Radiohead x Brahms'

How Viggo Mortensen used music to shape the narrative for 'The Dead Don't Hurt'

Rosie Lowe on perfectionism, collaboration and reclaiming agency on her new album

AUGUST COVER FEATURE

Segun Akinola on bringing your voice to every project

Charlie Clouser on locating the sound of the Saw

Nicholas Britell on the art & challenge of each new scoring project

How Ego Plum scored The Cuphead Show!

Arthur Sharpe on having the licence to explore on his soundtracks

Cody Matthew Johnson on bringing the Edo period to life with Gagaku in Trek to Yomi

From Dead Space to Until Dawn: Jason Graves on scoring for video games

How Este Haim broke the mould and became 2023’s most exciting composer

COMPOSER OF THE YEAR 2023

How Petri Alanko drew on theoretical physics to craft the modulating score for Alan Wake II

Junkie XL on returning to the Mad Max saga for Furiosa

Leopold Ross on bridging sonic worlds for Shōgun

How Martin Phipps brought a new musical identity to The Crown

Dan Romer on capturing the sound of Italy in Disney's Luca

A quick Q&A with Nainita Desai

Underplayed composer Kate Simko and director Stacey Lee talk transition, synths and collaboration

Marco Beltrami Used Shepard Tones to Create Tension on A Quiet Place Part II

Mac Quayle discusses how eight hardware synths beat a thousand plug-ins

Matthew Head on winning an Emmy & championing change in the industry

Danny Elfman on the evolution of MIDI, composing ideas on voice notes & Tim Burton

Benjamin Wallfisch on composing the score for Mortal Kombat

Gaika Tavares on Sound, Scoring & his Scientist-Soundsystem Lineage

How 3 composers scored Batman: The Animated Series

Terence Blanchard on Netflix's 'Da 5 Bloods', Writing Process & Working with Spike Lee

Anne Nikitin scores award-winning docudramas & supernatural series

An Interview with Daniel Pemberton

Emile Mosseri on the Music of 'Kajillionaire'

The Music of The Queen's Gambit

Alexandre Desplat on The Midnight Sky

Sarah Schachner on Assassin's Creed: Valhalla

Recording & Mix Engineer Olga FitzRoy on MPG's Latest Announcement

The Music of Charlie Kaufman's, I'm Thinking of Ending Things

Kathryn Bostic Navigates Between Scoring Documentaries & Feature Films

Introducing: Dontae Winslow

Jlin: Operating in Unpredictability

The Music of Netflix's The Witcher

The Haunting of Bly Manor: The Sound of the Supernatural

Jermaine Stegall composed whilst on set for Coming 2 America

Jesper Kyd Returns for 'Assassin's Creed: Valhalla'