↪︎The score is dark, brooding and atmospheric. We wanted to avoid Hollywood cliches and make it feel quite tense with lots of bass, movement and rhythm.

↪︎Although there is little conventional thematic material in the score, we felt it was necessary for there to be some kind of repeating motif. George wanted it to sound experimental, synthesised and subtle to create an ominous mood. He synthesised a warped detuned bass sound to act as this repeating motif which can be heard throughout the film.

↪︎One of the main virtual instruments used music was the loop manipulator and granular synthesiser “Cycles”. It allows you to take experimental loops of any kind and manipulate them in so many different ways. It helped us create that feeling of suspense that a drone/loop has without it sounding monotonous or repetitive

↪︎As the story unfolds in reverse, we thought it would be interesting to try to use reversed sounds throughout. One way of doing this is to use risers. One way was using an E-bow on an electric guitar, adding plenty of distortion, reverb, and delay and then slowly tuning the strings down. Then reverse the whole sound so it ending up rising in pitch. did a similar thing with sustained harmonic notes played on violins and cellos.

↪︎A lot of the production period was done during lockdown so nearly all the dialogue was recorded remotely with actors far and wide. Which was a huge challenge.

↪︎We used lots of processing on the dialogue to design characters or create an in helmet feel. a lot of which was done using various impulse responses (such as helmet IR’s) and ‘futz’ effects for radio communications and the television broadcast.