Showreel: Video 

Chris Frost's composition for the Spitfire Audio and HBO Westworld Scoring competition 2020. Season 3/Episode 5 introduced the hallucinogenic drug "Genre" into the show where the 'high' makes the user feel as if they were experiencing being inside a film festival, which randomly cycles genres during the 'trip'. During this scene Caleb appears to at first be experiencing 'Film Noir' then cycles into a more military/combat style film. For my composition I drew influences from key character themes (such composers as Max Steiner, Jerry Goldsmith, Basil Poledouris, Brad Fiedel, Vangellis, Philip Glass and William Orbit) which I felt represented what Caleb seemed to be experiencing; fighting foes which were once considered allies. I chose to undulate between the synthetic (electronic music) and the orchestral to both represent 'the real world' and the 'experience' both separately and collectively. All video and imagery are owned by HBO and Westworld exclusively. #westworldscoringcompetition2020

This video is a re-score of the Ghost in the Shell (2017) live action movie trailer number 2. I wrote and orchestrated the music in homage to Yoko Kanno's work on the Ghost in the Shell animated series.

Taken from the 2017 film Follow Me, this clip takes you through a short scene in an office whereby one of the workers attempts to obscure her quirky stalker from her boss. The music underneath is indicative of the juxtaposition between the girl's frantic movements and the jaunty strolling of her uninvited guest, before finishing up with some tension and relief as the boss almost discovers the visitor.

I was asked to produce sound design and underscore for a fictional 3D modelled machine, as an ident for the publishing company. After studying the inner workings of mechanical clocks I set about creating a 200-track multilayered virtual instrument to represent the mechanisms as closely as possible to an authentic clockwork device, before finally composing a short score to bring it all together.

During this scene, I was to compose an underscore befitting an ominous mystery and I chose an avant garde approach to the Guitar in order to represent the disturbing overtones on screen without writing a score in the traditional sense. By heavily detuning the Guitar and taking advantage of both the physics and electronic elements of the instrument, I was able to make the audio as uncomfortable as the visual.

This film was shot using my iPhone at Tintagel Castle in Cornwall, on 27th November 2015. The music was written and recorded using my MacBook Pro and Guitar, that I took with me. The meaning of the piece and the title is personal to me alone, unless you're smart enough to figure it out for yourself.

Splintered Soul performed acoustically at The Half Moon in Putney, London on the 31st July 2013, along side 'Never the Bride' and 'Papa George'. Track listing: - Iceni's Vengeance - The Epic - Oblivion - Cambyses For more on Splintered Soul, visit www.facebook.com/SplinteredSoul Splintered Soul proudly endorse: Schecter Guitars, ENGL Amplification, Fractal Audio Systems, Ernie Ball Inc, Bare Knuckle Pickups, Graph Tech Guitar Labs, Pedalboardlabels.com, Kazrog LLC and Martin Hobby Photography.

As tracking the album approaches completion, Splintered Soul's debut album Lore approaches the mixing stage, but before that starts, we wanted to give our supporters a glimpse into what they've been waiting for. Genuinely, you're hearing as much as the band has, since our producer is keeping this very close to his chest! Help support Splintered Soul and Lore by posting this video on your social networking sites with hashtag #IamTheEpic!

I thought I'd try my hand at writing a theme for a Rhythm Game, and this was the result. Visuals were thrown together quickly with Adobe After Effects. For more music, or questions about licensing, visit www.frost-music.net

I was asked to compose to a specific brief whereby the piece needed to resemble popular dance classics of the late 1990's and early 2000's.

I set myself a challenge to recreate the 1979 recording of Roisin Dubh from Thin Lizzy's Black Rose album as close to the original as possible, using only what I had available. Recording consists of; - ORIGINAL Phil Lynott vocal (ripped from the original recording), - MIDI drums mapped to Brian Downey's performance, based on a Premier kit with a detuned brass snare. Hats were set as spot mic’d, the overheads were dropped slightly in favour of the ambient mics for the cymbals, - Schecter P-Bass Custom 5 with flanger, - Epiphone Les Paul Nuclear Extreme upgraded with Graphtech's Ratio tuners, Aged TUSQ Nut, Resomax Bridge and Resomax Tailpiece, - Brian May Special, used solely for Gary Moore's lead line during the Mason's Apron section (for pickup phase). I used a tube screamer before the amp to help with the tone. All other Guitars were the Les Paul, - Guitars tracked through a 1968 Marshall Superlead into an ENGL 412 pro and mic’d with a Royer ribbon, all double-tracked. ADT applied to the double tracks, - The Marshall was EQ’d with the mids maxed out, bass around 4, treble around 7 and the presence around 4. No other effects were used in the chain, however there is a plate reverb added during recording, - Guitars were not comped for that more 'live' feel, - Guitars and bass retuned to 432.9hz to closely match the tuning on the original record, - As the majority of the Guitars were tracked with the Les Paul, I tried to differentiate them by varying my vibrato as well as different EQ settings on the amp, but realistically two different Les Pauls would have been better in hindsight, - Bass tracked through an Ampeg SVT, with a heavy EQ drop north of 1khz and roll off south of 55hz, - Aural Exciter applied for that 14khz boost to the main mix. For more information on my music, check out www.frost-music.net