I wrote this as a private commission to the streamer @headiebaked. Head on over to his twitch channel and subscribe if you want to have a great hangout with a cool dude/love COD.

I was coming off the high of a mixing course, got some nice Adam Audio mid range monitors and popped this baby out relatively quickly. It was originally meant to be an exercise for me post course completion, but I ended up really liking it hahaha.

It's a great bop that's good for working out too or jogging ;) Can confirm

Sinister Wave: A Commission

From my "Proof of Concept" shoot Erlking!

This was entirely recorded in my basement studio, composed and produced. Finally having the ability to work with people in my house again was pure joy and this track best exemplifies that feeling. The film is finally complete and I am proud of the work that our small skeleton film crew put in.

Composed and produced on FL studio with the vocal talents of...

Adrianne Salmon, Maya Parkins, Garrett Waschuk, Ryley Tennant, Kristin Johnston Snelgrove, Chariz Faulmino, Aran Wilson-Mcanally, Arden Phillips, Nadia Small, Gabby Noga and Damon Pitcher

Sweet Emily: From the short film "Erlking"

The ARC: Trilogy!

I was commissioned by Concrete Theatre in Edmonton to compose/produce 3 individual scores for 3 short "theater to film" productions for their ARC (Anti-Racism and Change) package to be screened in High Schools all over Alberta.  

This was an absolute treat as each film required a score that was radically different in tone, style and sound from the next. Whether it be the playful intro to Hoodies, the somber simplistic synth tones in Dunya and Farook, or the full on homage to John Carpenter films for Beneath the Mask. 

I love each track for a different reason, but I truly love a campy 80s horror romp like Beneath the Mask.

Beneath The Mask Chase Sequence

Hoodies Theme

This was an absolute blast to make albeit very challenging. I wanted to keep to the style of magical realism without seeming appropriative. In this section we see the characters hop into a locker to be transported from Canada to Guadalahara, once they arrive you can hear a street vendor lightly playing music to attract customers.
Special thanks to Corben Kushneryk, Co-AD of Concrete Theatre and to all of those working to make change in their communities.

Alebrijes: ARC Trilogy

The first of the new ARC trilogy was a piece where a first nations girl and her classmate find common ground on their love for Sci-Fi (Specifically Star Wars and Star Trek.) I wanted to capture the "essence" of the iconic starwars opening including how it drifts off eerily towards the end of the text, leaving a feeling of apprehension and possibility.

Special thanks to Corben Kushneryk, Co-AD of Concrete Theatre and to all of those working to make change in their communities.

Citizen Plus: ARC Trilogy Part 1

"The Maid's Chance" -Recorded with the Budapest Art Orchestra

This piece follows the story of a young maid who is plotting to murder her mistress as well the various party guests attending one of the many soirées held there.  

I heavily feature the horns at the start of the piece to add dread and weight to the otherwise light ensemble. You can hear the drastic turn in the piece as the "mistress" rounds the corner of a hallway, suspecting that something is amiss.

I really wanted there to be a conversation between all of the woodwinds and harp, almost like voices whispering back and forth that join together to create a haunting dissonant sound.

The Maid's Chance

"The Kiss: A Love Theme" - Recorded with the Budapest Art Orchestra

I do love a good "sad" 4/4 soft fleeting love theme, but every time I think about the flirting, the chase leading up to the "big dance"...that's what I want to write about. So for this piece, I start out with the potential rejection, making the tone a bit more depressed and gradually build up to when the two lovers finally catch up to each other for their "dance." 

I will say, Joe Hisaishi ruined me with the score for "Howl's Moving Castle." My teacher at the time said it was an interesting choice to write the big theme in 3/4 but to me it makes perfect sense, and apparently to Joe Hisaishi as well XD

-Chris

*Mixed and Mastered by Moi

The Kiss: A Love Theme

I love working with hybrid scores SOOOO MUCH (As well as synthetic sounds)

This piece was based off of a cinematic from Starcraft 2, Heart of the Swarm. I absolutely love the Zerg and I wanted to see how I could find a hybrid score that gives the Zerg that "Chris Scott" twist. 

With the ending I achieved a very Bladerunner 2049 aesthetic/80s synth sound that creates a feeling of loneliness yet puts a nice little hat on the action that preceeded it.

The original music was combined with my own SFX design and DX as well, but I wanted to isolate the music for my soundcloud :)

There's Too Many...

An old woman invites three impoverished children into her home. She remarks fondly how one of them looks like her Grandson. As she is looking into the past, the present captures up with her.

"Grandson?" Is a string quartet based upon Juan Carlos Onetti's short story "The Piggy Bank." I wanted to capture the sweet sentimentality of the old woman and the brutality of the world that she is blissfully unaware of....

Recorded at Palau de la Musica in Valencia
Mixed and Mastered by Me (I left the recording relatively untouched as I was so happy with the recording on the day of.)

Grandson?: A String Quartet

This is the music from my rescore of a scene from Plauge Tale 2 (One of my favorite games of all time as well as score by Olivier Derivière.)

 I redid the MX, SFX and Dialogue for a whole cutscene early in the game where the main characters fall off a collapsing bridge and find themselves surrounded by rats. Of course.  I finally got around to uploading the music here :)

I really like the ambient textures I built as well as test driving the Insoldus library by 8Dio.

Rats in the Reliquary: Horror/Suspense Cue

I always saw myself more as a "Spooky soundscape" kind of composer...which is true...but I had a lot of fun writing a more PG-13, family friendly cue.

I had the immense pleasure of conducting this session myself in Budapest, with the Budapest Art Orchestra. There was something truly exhilarating about the final push "up the stairs." 

I'll be posting more content regularly once school has wrapped up in July. Hoping to get back to exploring more textural sound work. I have a couple of animated films going into festivals, and I can't wait to share my work for those as well.

A Duel on the Stairs: Recorded with the Budapest Art Orchestra

"The Hole" is one part of many in a soon to be live art installation at California Arts in 2025. It was recorded at AIR studios in May of 2024 with myself at the helm of the session and the fantastic Jake Jackson in charge of the booth. 

This piece of music was born from the collaborative efforts of the fantastic experimental animator Ayden Lamb who is wrapping up their thesis at Cal Arts. It heavily features my two favorite instruments, the Horn and Cello. (Quite a bit of the woodwind section as well.)

I had the absolute pleasure of working with my friend electronic composer Zach Beever. He crafted the custom dark synth pad you hear in the intro and outro.

Mixed and Mastered by myself, I am truly proud of all of the growth that has taken place this year at Berklee Valencia. 

Hope you enjoy :)

"The Hole" - Recorded at AIR studios

This was a track that I recorded with the Budapest Art Orchestra back in February. I was limited to the use of strings exclusively but always longed for a thicker, more substantial sound. 

I finally had time to finish off this track by adding in double woodwinds as well as a few trombones for some extra umph. 

This was a rescore to Mitsuri's fight with Upper Moon 4 right up until she realizes that she miscalculated...I think I'm going to explore composing for anime more in the near future ;)

Mitsuri Kanroji: A Terrible Mistake - Recorded with the Budapest Art Orchestra

This is is a track from the short animated film "Haunted House" that I scored for experimental animator Ayden Lamb. I was instantly enthralled by the their concept of blending a textural ambient score with sound design derived from old home movies. 

I thought about using purely synthetic components at the beginning but wasn't satisfied with the initial product. I thought back to my own childhood, the memories of me practicing cello in my home study, so I began recording myself on cello. I found a motif and then heavily modified it with the sound toys suite. 

My favorite section is minor third motif found throughout the film in combination with several other harmonic cello stems fading out into nothingness towards the last third of the track.

Back to Home - From "Haunted House"

I started this track back when I was at Berklee Valencia for my masters. I was never quite happy with the end product due to time restrictions. 

Finally took some time to re-look at the automation, and tweak the final mix. This is a "Fantasy Combat Demo" that was originally written to go along with footage from God of War: Ragnarök, a standard fight scene from Midgard.

I used Microshift on a couple of the pads and re-automated some of the horn section while modifying the vowel shapes of the choir. I would be quite happy to have a brawl to this track and the choir percussively screaming. 

I tapered out layers 2 and 3 to leave just the standard "Overworld" music at the end of the track.

Surprise Encounter - Layered Combat Theme

The first of two tracks from the new musical Erlking, recorded at Berklee Valencia in May of 2024. Taking place at the top of Act 2, the character of Mila is being forced to come to terms with her the vast differences between herself and her mother as well as the upsetting similarities....

Music and lyrics by: Chris Scott
Recorded and Produced by: Luis Valdez

Featuring: 

Celine Durney - Vocals

Sarah King - Violin
Olivia Wilding - Cello
Alex Fink - Flute
Luca Bordonaro - Bass Clarinet
David Dudney - Percussion

Logo by - Corben Kushneryk

I Have A Secret - From the New Musical Erlking

I've played through the Mass Effect series multiple times now and I've always wanted to tackle something in that style of "New age Space Synth." I wanted to craft an action cue that starts off with an exploratory feel that bleeds into danger followed by an all out space brawl. 

I love music cues that get my blood pumping and excited to see what's coming next, so I set out to create something that hyped me up while writing. I hope you enjoy "Into the Pit." 

Into the Pit: A Mass Effect Inspired Action Cue

When I was contracted to produce the sound design/score for Radiant Vermin I always knew that I would include some kind of vocal lick for the theme. With the way casting, set design, video design and lighting design all worked out, the show turned into a vivid fever dream and I wanted the music to reflect that. 

I added a "shimmering string" sample section rapidly arpeggiating supported by a couple of simple pads and then polished off with a distorted bass section that kicks in to add a more full bodied experience.  If you know the play, and know what the "fairy lights" are...they are not as magical as one would usually associate but I still wanted this track to contain the wonder the characters were experience, and the horror that the audience had to sit through to get there. 

"Fairy Lights" From Northern Light's Production of Radiant Vermin

I've been working on this film with my good friend, experimental animator Ayden Lamb for just over a year now. Originally I wanted to use my orchestral recording from AIR studios in a more "standard" type of way, but the film has changed directions multiple times since it's recording and the music needed be heavily modified to fit the bonkers nature of the short. 

This is part three of the full score from the film as it premiered at Cal Arts back in May 2025 and features a great deal of wacky sound design and fun retro synths that have been heavily crushed and distorted. I'm excited for this project to continue on, and even more excited for the truly "finished" product to hit the festival circuit in early 2026. 

The track incorporates a public domain recording of a little ditty from the 1920s that was used to add yet another layer of bizarre to the whole experience.

The Feast - From Coyotes Eat Everything

Working on this game was wild, it was my first experience working with a large team of composers and sound designers. In short, it was a blast. 

I really like this cue because of it's simplicity. The developers wanted something calm, with a hint of mystery, to invoke a "safe space" much like the save rooms in the Resident evil series. I stole a lick that I wrote for the main theme and retooled it for solo piano and kept the supporting instrumentation bare bones, no pun intended. 

Shelly Manor - Calm in the Lobby

This cute little outro is from the ARC Trilogy, Elementary School Edition- Word Nerd. It teachings younger students about the importance of respect when it comes to language, culture and different upbringings. There was lot's of fun word play and the short required very little music but I came up with this repetitive "Stab" motif anytime the two children came close to establishing a connection with each other. 

You can hear it a little bit towards the end of the outro but It was quite neat having something so simple establish a point of connection between two characters. 

Word Nerd Theme- ARC Educational Series

I am absolutely obsessed with Bloodborne. I used to hate its guts because of how challenging it was for an anxious person like me, but now I can actually go toe to toe with the Orphan of Kos. 

For this demo track I wanted to pay homage to the composer and the game itself. I created the theme for this boss character that fell in love/worshipped the great ones and volunteered to be experimented on to reach the heavenly "Great Ones".

I even whipped out some nice eerie vocals on my at home studio mic and the effect turned out quite well.

Logo design by @Miurgen. You can find her streaming on Twitch or on twitter.

Cold One Elise (Bloodborne Inspired)

This is a re-upload of my favorite song from "The Killing Jar." I wanted to take everything I had learned in the past year and reapply it to the original. I'm very happy how it turned out and Chariz's vocals really take the forefront.

Hope you enjoy this short little nugget from my first musical.

Vocals: Chariz Faulmino
Photography: Kaylin Schenk Photography
Logo design by my good friend Corben Kushneryk.

Mama

My friend Hank, as he is known online, and I set out to create a Mod for Mount and Blade 2 currently titled "The Music and the Blade" to expand and modify the current score. This is the first fruit of our labors. 

I had to put this together by ear which at first was quite overwhelming but ended up being WAY more fun than I initially anticipated. I wanted there to be a little more of a grandiose feel to some of the sections, a few vocalizations here and there while keeping in line with the original material.

Massive props to Finn Seliger and everyone else involved, your music is a joy to explore and cover/adapt.

Mount And Blade 2 Theme Adapted

Composer and Sound Designer currently based in Edmonton, Alberta. 

"Berklee 2024 Masters in Scoring for Film, TV and Video Games."

As a composer I love lush thematic film music, video game scores and all things musical theatre. Currently attending Berklee Valencia for a MM in Composition and excited to start sharing some of my more recent works. 

If you love listening to dark, lush, yet sometimes silly music (or have a comission in mind for an adaptation/something original) I'm your guy.

Website: www.christopherthomasscott.com
Instagram: @chris.t.scott
TikTok: @chris.t.scott

Chris.t.Scott

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