but now you've got those cool friends who wanna live in your head.
I think I'm better off dead.

left some things unsaid
dying in my bed here,
better part of a year ripped apart by my fears

I just wanted you
and you just wanted them
everything that's beautiful will kill you in the end.

(ay)
hope you get high to this.
hope you don't cry to this
like I am
four years and a blunt to this
to celebrate all the hits
you took, and we took 
while we tried to be strong

four years aint that long
four years in a song
I let it all go just to know I belong

and I wasn't wrong

to think you had other plans, yeah

now you got a man and I'm thinkin good for him
but you also stabbed my back,
and I'm cutting up my skin
no I never fuckin left
locked my heart up in your basement
my friends called you two-faced
I told them it don't phase me

gave you all my love 
and you know it broke me down
four years down the fuckin drain
I'm wishing I would drown
crashing under waves
because now I'm crashing out
set myself on fire 
if it'd make you put it out, yeah

but now you've got those cool friends who wanna live in your head.
I think I'm better off dead.

left some things unsaid
dying in my bed here,
better part of a year ripped apart by my fears

I just wanted you
and you just wanted them
everything that's beautiful will kill you in the end.

Good For Him (Prod. Gusuck)

Guest Room

I Love You (1950s sitcom)

Iris (1950s sitcom outtro)

Please Don't Leave Me

Original music from the soundtrack to the genre bending short film with a twist, “Stitched”.

Where Did These Come From / Everything's Fine - Stitched

This is a song I was asked to sing for a grave site service for a dear friend named Doug. I't a beautiful song first performed by Vince Gill as an inspirational 90's country tune. Has a gospel and a patriotic vibe. Doug was a Marine and a hard workign guy and this chill song will hopefully provide some peace for anyone grieving.

Go Rest High On That Mountain

Funeral March

Kathrin das ist Eric

In the morning, 
I’d wake and walk out,
Into the garden
To let you out,
My warm toast.

There’s a sunbeam on the bed,
Where you would lie your head,
But you’re not there.
My warm toast.

And I walk around the silent house,
No click of paws,
No quiet loyal friend,
Shadows me,
Just cold echos haunting me.

On walks, no tail scouts ahead,
Checks for traps,
Sniffs the trees,
Looks for squirrels,
There’s only me.

But you are still there,
Like a memory,
Like a ghost,
Like a habit,
The warm smell of toast.

Gone, but not forgotten,
Your warm head on my lap,
Your twitch while you sleep,
Your yip in your dreams.

Now you are at rest,
Dear friend, Asleep,
At peace,
And I am alone,
Without you.

I am alone.
But you still linger in the air,
Though you’re not there,
My warm toast,
My warm toast.

My Warm Toast

A crossroad of fate
Open the gate
Good or mad choice
A human voice

Brian L.H. Gunter is an experienced composer for media, and when in his element, Brian is blending classic scoring orchestras with modern synth and guitar. Approaching each score fresh with his own style while leaning into influences like Benjamin Wallfisch, Alan Silvestri, Nicholas Britel, Ludwig Göransson, or James Newton Howard, grounding each score with  his own twisted take on story immersive sound design.

A classically trained cellist and experienced multi-instrumentalist, Brian is proficient in guitar, bass, piano, and an assortment of other instruments and musical technology. He is an avid fan of both orchestral and popular music. Throughout college, Brian played in small ensembles, chamber groups, and symphonic orchestras, while also performing guitar and keyboards in top 40, rock, and metal bands.

Brian’s career took a significant leap with his first feature film score for "You Might Get Lost," directed by James Eaves and released in 2021 by Amber Pictures in the UK. This ambient hybrid score of synths and orchestra harkens back to Carpenter-esque genre classics, underpinning much of the film’s emotional current and gradually raising the intensity along with the protagonist's desperation. 

For Eaves' follow-up feature, "The Apocalypse Box," released in August 2024, Brian was tasked with creating a dramatically different score. Eaves requested a departure from the sparse ambience of "You Might Get Lost," aiming for a classic symphonic horror score. Drawing inspiration from Jerry Goldsmith’s "The Omen" (1976) and Fernando Velázquez’s score for "Devil" (2010), Brian crafted a
composition that is frenetic and bombastic at times yet somber and reflective at others, focusing on clear motifs that put the tension low in the viewer’s gut. All while maintaining his own flair and signature style.

In early 2024, Brian was brought on board by director Yvonne Williams of The UNcollective Productions to score her debut feature film, "White Vinegar." Yvonne chose Brian after bonding over their shared love and language for music and artists across the board. For "White Vinegar," Yvonne wanted Brian’s orchestral touch blended with elements of musical theater, inspired by Sondheim, and incorporating original songs Yvonne also wrote for the film. The blending of styles and interconnectedness of themes across Brian’s score and Yvonne’s songs created a cohesive and wildly distinctive sonic landscape. “White Vinegar” is slated for release in 2025. Just two months after wrapping “White Vinegar”, Yvonne enlisted Brian again to score a 10-minute proof of concept for her another scripts of Yvonne’s, “Rubber Room,” an intense thriller with a science fiction twist. And before Rubber Room begins production, Brian is joining Yvonne again for a third of her scripts, a holiday road-trip comedy that puts the trials of family relationships front and center.

Brian’s adaptability and creativity were put to the test with “Bloody Felt,” a horror/comedy/musical/Muppet parody by young filmmaker, Sam Torres. The project demanded a range of musical styles, from a classic children’s puppet show theme to EDM, Dubstep, and Argent Metal, alongside a classic horror score, and even a musical theater inspired piece. Brian managed to weave themes throughout each style to create chohesive musical support all within six minutes of screen time. After a public screening the film and music received overwhelmingly positive feedback, highlighting Brian’s ability to seamlessly blend disparate styles. 

While the goal is only ever to provide emotional support the film and characters demand as set by the filmmaker’s vision, Brian L.H. Gunter’s body of work exemplifies his ability to push musical boundaries and create unforgettable scores, cementing his reputation as a composer who brings a unique sonic identity to every project.

Music Studio, covering any genre, any kind of artist.

Partially academically trained composer, writes in several styles and for a multitude of ensembles including choir, symphony orchestra, piano and rock band.

444

shoutout to Ukraine

prod. Gusuck

i'm stuck in 2014

New tracks tagged #Grieving