I Love You (1950s sitcom)

Iris (1950s sitcom outtro)

Fly Fishing in Scotland Aug 2025

ive been having trouble doing anything recently. made some things that sounded cool but couldn't finish them. so i committed to making a piece of garbage instead. I'm watching it all while frozen in time.

IMightActuallyhavedebillitatingptsd

I had to take out some frequencies to get past Copyright detector. Download for free at the link for original sound. Hook em

Free Download

TexasIsWinningIt - Losing it x The Eyes of Texas

Losing it (Ft. Khi)

skullnoise remix

THE NIGHTMARE IS OVER... 50 different versions of this damn track and I finally found one that felt like the final version.  I've been playing this one live since my Broccoli Bar set at Seven Stars Festival but this one has that new car smell trap drop in the second half.  

Enjoy and as always, play this shit louddddddddddd.  Love u,

Ryan // King Kozz

FISHER - LOSING IT (KING KOZZ FLIP)

[41-46Hz] Robert Kano - Losing It

The WORD, from SJELC in Yutan, NE, 11/23/25

The WORD_SJELC_11:23_Christ the King! Sunday_Gaining It, Losing It, and Yelling at God.

mixing is a poison that i must purge from my body

After Hours? 

ON SPOTIFY NOW https://open.spotify.com/album/6UoZLNcnAirpRAH1aMD5sI?si=QpSi7R8MTh2VD4m0vyBBaQ

cyber rocker whos out of their mind, drunkfang on insta and discord

Watch yo jet
Bookings: gooseesounds@gmail.com

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.

House music influenced from Ibiza and 30 years of DJing.

New tracks tagged #Losing It