Composer from Wellington, New Zealand www.rhiansheehan.com

http://rhiansheehan.bandcamp.com/

Rhian Sheehan is an award-winning music producer and screen composer from New Zealand. Known for his fusion of atmospheric-post-rock with electronic and chamber music, he has released 6 albums and 2 EP’s on Loop Recordings (NZ/Aus), Darla (US), Preco (Japan). His 2013 release Stories From Elsewhere has received much praise; renowned US reviewer John Diliberto (Echoes) calling it “a modern ambient chamber music masterpiece of quietly epic dimensions". His 2018 album, A Quiet Divide, is his most orchestral album to date, merging chamber strings & piano, with emotionally charged cinematic post-rock atmospheres. Releasing the album alongside a 6 date audiovisual live tour around New Zealand, the album reached no.2 on the NZ Top 20.
"A Quiet Divide is an album that swallows you whole, and sends you out the other side a lighter, calmer version of yourself." - Sunday Star Times
His work as a screen composer is diverse, actively writing scores for a wide variety of film, television, documentary, advertising, multi-media exhibits, and 360o Fulldome Planetarium dome show projects around the world, having worked on projects featuring luminaries Andy Serkis, David Tennant, Tim Allen, Martin Scorsese, Rupert Grint, and Jared Leto.  He has written music featured on many notable TV shows and channels, including Top Gear (UK), the hit HBO series Silicon Valley, BBC Horizon, CNN, National Geographic Channel, Discovery Channel, History Channel, Netflix, America's Got Talent, and has written music featured during The US Super Bowl, and The Academy Awards.
Sheehan has composed music for various multimedia installations and exhibits around the world, including UK's National Space Centre, The Kennedy Space Center, London’s Natural History Museum, Ferrari World, World of WearableArt, and Weta Workshop. His score for the 12-part prime-time series The Cult won him a Qantas Film & TV Award (Best original music in a TV series), and he also wrote the score for the Emmy Award winning series Reservoir Hill. Sheehan’s music was used extensively during NBC’s prime-time coverage of the 2012 London Olympics, and he has written music featured in a variety of commercials, including spots for Google, Nike, GoPro, American Express, Sony Pictures, Universal Pictures, and Facebook. He has written for Hans Zimmer's custom music company Bleeding Fingers and Extreme Music. Sheehan has scored music for the acclaimed films Belief: The possession of Janet Moses and Stray, and more recently scored the mixed-reality AR steampunk inspired robot shooting game, Dr. Grordbort Invaders, produced by Magic Leap & Weta Workshop (Peter Jackson & Richard Taylor's award-winning special effects and prop company).
He has written scores for numerous UK and US produced 360o Fulldome 3D Planetarium shows, most notably, We Are Astronomers, We Are Aliens, We Are Stars (for which he was awarded Best Original Score at the Fiske Planetarium Awards), and Back To The Moon For Good, which was produced by Google XPRIZE, the UK National Space Centre, and Robert K. Weiss (producer of The Blues Brothers). Narrated by Tim Allen (Toy Story), Back To The Moon For Good is one of the most popular and watched Planetarium Dome shows ever made; having screened in over 450 Planetariums around the world.

Mitchell Kirk is a composer based in Wellington, New Zealand.

Goodnight My Darling, (Maxine Macaulay) is an emerging Te Whanganui-a-Tara (Wellington, New Zealand) based songwriter, producer and vocalist. 

A strong songwriter, storyteller, an avid explorer and human experience researcher Goodnight My Darling draws upon her adventures living and performing abroad in Melbourne, Japan and most recently Berlin. 
Her artistic endeavours began from a young age, singing for Kapiti based bands, choirs and learning to play trumpet, taught by her grandfather who was a conductor and musician in the New Zealand National Band.

In 2018 Maxine was one of the first graduates from Massey University's Bachelor of Commercial Music in Wellington, emerging as Goodnight My Darling. Here she developed further collaboration and production skills, solidifying a unique style of songwriting and performance that she continues to develop and share. 

Her debut self-titled record was written during a seven month lockdown in Berlin, early 2021 and is set to be released December 2022. Inspirations for Goodnight My Darling include Angel Olsen, Nadia Reid and 90’s shoegaze. There is a quiet confidence to the record, some big bold songs, unexpected twists & turns, it’s dark edgy & there are some really haunting moments.

Kez and Mitch are the melodic folk duo with ethereal voices to dream away with. Their soft and sweet sounds are an honest expression of emotion and shared love of music.

Barry and the Crumpets are a foot-stomping, barn-romping country dance extravagance. Playing old-time classics, breakneck bluegrass and swampy blues. All played toe-tapping fast and knee-slapping rowdy.

It all started in Wellington when three friends started jamming together with banjo, mandolin and cajon on a dark midwinter night in 2017. As the night wore on, the tunes got stompier, their friends danced faster and before they knew it a band was born. 

After 18 months of gigging around markets, bars and house parties in Wellington, a fiddler joined the fray. The band have since been honing their particular flavour of upbeat, old-fashioned mountain music and three-part harmonies with a smattering of celtic roots.

Barry and the Crumpets are:
Brendan Schenk: Vocals, Mandolin
Rachel Evans: Fiddle
Donald James: Vocals, Cajon
Simon Carryer: Vocals, Banjo, Cello Banjo

Leigh Harrison was born in the 1950s and has never felt the urge to do it again. Raised in Christchurch and taught piano and flute from an early age, Leigh eventually escaped to Dunedin, discovering guitar and saxophone in Timaru along the way. 

A life-long addiction to writing and recording music was ignited by the acquisition of a Thorn 4218 open reel tape recorder in the early seventies. Groundbreaking technological advances followed, including the Stockpot Reverb Helmet and the classic formula [dining chair] + [sticky tape] = [microphone stand]. 

While studying music at the University of Canterbury, Leigh was indignant at being marked down for using examples from Beatles songs to illustrate the principles of modulation. Leaving ‘varsity resulted in the intriguing discovery that being a professional musician got you invited to better parties. A period of career experimentation followed, leading to the unlikely discovery that being an undertaker’s assistant produced more social action than being an apiarist, but neither of them held a candle to being a radio announcer.

Things really started cooking in the late seventies, and not just because a new reverb spring released the stockpot back to culinary service. Leigh began producing local bands. Amazed at the resulting increase in party invitations, Leigh sent her own demo to what was then CBS records and was offered an Australasian recording contract. Leigh now refers to this as The Lesser Mistake. Having successfully completed eight months of negotiations she turned the contract down. Don’t ask.

However, her work as an engineer and a producer continued, including a compilation album of Christchurch bands, and getting in on the ground floor of the Dunedin Sound with production credits on classics such as Bored Games “Who Killed Colonel Mustard?”

Insert marriage and children here.

Twenty years later, single but not getting invitations to very many parties anymore, Leigh released the solo album Inappropriate Touching in 2002. By this time she’d emigrated to the North Island and settled in Wellington after a circuitous pilgrimage through Hawkes Bay and Wanganui. Lean On The Angels followed two years later, then a number of projects with other musicians. 

Currently working on material for her best-ever stand-out smash album (the next one), Leigh lives in Wangawellydun and doesn’t care who knows it, especially if there’s a party invitation in the offing.

Latin American rhythms, digital sounds, claps, flutes, harps, tweets, hoots and leaves!

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