How Andrew Harris Weaved West Coast Vibes into Vapor Music’s Far-Reaching Soundscape
Andrew Harris was 15 years old when he decided he was going to create music and sound for TV. Already an avid audiophile, the young creative became obsessed with the idea that a career in sound design meant his creative decisions would be heard by millions across North America, heck, even the world.
Hungrily consuming everything he could find on the subject of audio production, at 15 years old the aspiring sound designer maxed out his credit card buying the equipment he’d need to kick start his career. Altering the entire mood and creative direction of a film by adding his own sonic imprint was a captivating prospect. As it turns out, years later, it’s this same feeling that spurs Andrew on to pursue unprecedented new heights in his craft.
In 2003, he was presented with the opportunity to join a burgeoning audio production company by the name of Vapor Music. At the time the team consisted of two other people but, nonetheless, he was thrilled to be experimenting with sound as an audio editor.
Right off the bat, Andrew understood the value of inspiration, having been strongly influenced by a diverse array of mixed media since childhood: late 90's and early 2000's WARP Records material from the UK; North American post-rock acts like Godspeed You! Black Emperor and Explosions in the Sky; the Canadian king of horror, David Cronenburg; and the late, infinitely great, Ryuchi Sakamoto. Over time his signature style - an accumulation of these clear cut, nuanced references - grew in tandem with his technical abilities. It was these diverse sonic touchstones that would go on to form the distinct creative voice that would get him noticed.
Gaining more and more confidence in his own brand of artistic expression, Andrew started to recognise it wasn’t just his technical prowess that added value – it was his unique point of view that clients would come back for. Perched behind the mixing console at the Vapor West studio, he reflects on this.
“It all comes down to taste. There still is, and will always be a technical level to this role, but when you get to a certain point it becomes a clear case of taste level and the unique perspective that you bring to the creative”, he says. “It took me a long time to realise that people are interested in my point of view and tastes, rather than purely wanting me to make a project sound good.”
Trusting his creative voice was the catalyst for what came next. As his confidence in the craft continued to grow, so too did his role within the company, encompassing composing, sound design, and mixing for film, advertising, and television. In 2007, Andrew executed the SFX for a spot which garnered global attention - and a Cannes Lions Grand Prix for viral marketing to show for it - in Dove’s iconic 'Evolution' campaign.
Then, the following year, he was presented with the opportunity to play a pivotal part in the launch of Vapor’s new West Coast studio.
“It was good timing for me to come out here, as I’d been wanting to come back to the West Coast,” he says. “Originally it was just me, working remotely as a composer and sound designer, before we built our own studio.” Slowly but surely, Andrew helped Vapor Music build up a West Coast client base, and the role of creative director was added to his title.
In fact, Andrew takes great pride in all aspects of the Vancouver venture, which includes the client relationships he has forged in the 15 years since Vapor Music set up shop in the city. Choosing which of these clients he would consider to be his favourite appears to be too tough to answer - “I've been lucky enough to work on some absolutely amazing campaigns over the years so it's truly hard to narrow it down” - so, instead, he touches on some recent projects he is fond of.
While a lot of the work is conducted alone, many projects initially take shape during group discussions like this, an aspect of the job Andrew favours greatly.
A recent collaboration that yielded impressive results is the studio’s work with BC Dairy Farmers, a spot that effectively channels Canada’s heyday of quirky off-the-wall ads. “In the '90s, Canadian advertising was really very funny, and it felt like we were paying homage to that time with this spot,” he says. “It was a hilarious campaign that needed a dry, bent, and curious sound design treatment. Truly awkward and elevated, like fingernails on a chalkboard.”
“The brief was so open ended. The director wanted to go for a super deadpan, strange textural sounds in that spot. The spot was almost entirely audio driven because it was about making certain products without milk. Brands tend to be afraid to be weird so it’s always cool to see clients take a chance on weirdness.”
The weirdness certainly paid off; the spot was awarded a Silver for Sound Design at this year’s CLIO awards. “I love that spot and to get international recognition for the work, in the form of a CLIO, was super encouraging. To see our work for the local BC dairy farmers sat alongside huge spots for global brands felt amazing.”
Another of Andrew’s collaborations is his ongoing client relationship with the Vancouver Canucks. For the last two years, he has worked closely with the NHL team’s media group, most recently delivering the sound design and mix for the epic opening trailer, played right before puck drop at every home game. Through this work, his dream of hearing his handiwork played out to the masses - the Rogers Arena has a capacity of almost 20,000 people and boasts what is arguably the biggest and baddest sound system in the city - has become a reality. “I can take people to the games and show them the work I’ve done on that, which is awesome – I’m super proud of that.”
Right now, Andrew is looking forward to the growing number of opportunities that lie ahead of him here on the West Coast. From working on playful projects with local BC brands to larger-scale LA-based projects like Vapor Music’s recent work on the JBL x Giannis Antetokounmpo short – “properly done music” is what Andrew is committed to delivering.
“The goal is for audiences to finish watching a spot and have a tangible reaction: whether that means their hearts are full or they’re overcome with melancholy, or they’re feeling claustrophobic, whatever it is”, he explains. “Skipping original composition and opting for stock music will mean you won’t always get to that desired place because audio makes up 50% of any spot’s overall message.”
If this estimation is true, Andrew Harris is the ideal person for brands and agencies to entrust with delivering meaningful messages.
