Sound / People


Andy Cowton

Andy has been composing music for film and television for over 20 years. His first film, with BBC’s Modern Times, was for Lucy Blakstad’s LIDO. Since then he has composed on a wide range of projects including in contemporary dance for which he has received a Time Out Award. He has composed for numerous dance companies but most notably for Russell Maliphant on the award winning Push, a duet with Sylvie Guillem. Films include Babeldom by Paul Bush and Lay Bare, an animation which received best experimental film award in Tindirindis. His compositions for television include Penny Woolcock’s Tina and Simon Schama’s American History series. He as also worked on Wild Pictures’ prison series HMP Aylesbury on ITV and Century Films’ series The Railway on BBC2.



Mukul is co-director of ambientspace, an artist-run studio in London that produces critical, intermedia work, often involving public participation. He plays predominantly with sound, language, and processes; past projects include an audio-visual performance based on the preparation of food, and a (playable) harp with strings of razor wire. As sound artist, he composes for experimental film (Manu Luksch, Isaac Julien) and dance (Shobana Jeyasingh, BalletBoyz). His writing ranges from film scripts (FACELESS, voiced by Tilda Swinton) to nonfiction in the realms of art, mathematics and technology – including books for children. Influences: the music of North India, early electronic music, Oulipo. Mukul has collaborated on 5 projects with Russell including a commission for Lyon Opera Ballet (2004) and the New Work for Bayerische Staatsballett (2014).


Barry Adamson has been creating all of his life. Perhaps his greatest creation is
himself as a multi-disciplined artist. The self-taught musician rose to prominence as
the bass player in Magazine and toured extensively. His establishment as a solo
artist came after a three year stint with Nick Cave and the Bad Seeds and heralded
the release of his seminal first solo album, ‘Moss Side Story’. Critically acclaimed, it
raised Adamson’s name as a composer of diverse complexity; able to tell a story
with music, where the images were those supplanted in the minds of the listeners.
Offers quickly followed and saw Adamson work with some of the film industry’s
most intriguing mavericks including Derek Jarman, David Lynch, Oliver Stone and
Danny Boyle.

Having released nine studio albums, including the 1992 Mercury Music Prize
nominated ‘Soul Murder’, Adamson has continued to tour globally with his talents
being in as much demand by new generations of artists, as he was after his first
solo release. He is constantly sought across all art forms for commentary and
contribution. His music being both the platform and background for documentaries,
TV series, adverts, computer games and even an Olivier Award winning ballet
performance by Sylvie Guillem and the Ballet Boyz.

It was always a logical progression for Adamson to move behind the camera and
once again his brooding film noir style and dark comedy has seen him write, direct
and score a number of short films. His latest offering, ‘The Swing The Hole and The
Lie’, being shown at the Cannes Film Festival this year.

Rising phoenix like from the flames of his previous work, Adamson continues to
push himself and blur the lines of film, music and art.

Earlier this year he returned to the studio to begin recording a soon to be released
new solo album, which shows him embracing all of his diverse influences into a
more commercial undertaking.