Thinking In Sound: Simon Webster on Surreal, Transcultural Influences

Simon Webster is an award winning composer, producer and songwriter, most notably for contemporary classical compositions and scoring to picture.

Simon’s music has been published by Universal, Warner, EMI, BMG and Cutting Edge Film Scores and featured on BBC, NBC, HBO, Channel 4, ITV, National Geographic and Sky Sports. He has composed for advertising campaigns including Peroni, Lexus, Ferrero Rocher, Electrolux and Colgate.

His music has been used on TV programs including Saturday Night Live, The X Factor, The Voice, Supergirl, I’m a Celebrity, Masterchef, The Apprentice and sports coverage such as NFL, UFC, European Cup, Champions League and Premier League football. He has also scored games, trailers, short films, documentaries, animations and feature films and written original songs for Korean drama and pop artists.

Most recently, Simon released his new album, 'Classic Exotica'.

LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down and how do you like to generate your ideas or response?

Simon> The approach I take really depends on the nature of the project, but I always start by ensuring I fully understand the brief and the client's vision. Music can be subjective, so I often find references are an efficient way to avoid miscommunication. From there, I normally research and immerse myself in related topics to spark inspiration.

When I begin composing I don’t always follow the same process, I like to experiment with new methods where possible, whether that’s through collaboration, blending genres or using an instrument in an unconventional way. I try to get feedback early on as it helps to keep things on track and ensures we’re heading in the right direction.

LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity - what are your thoughts on this? Do you prefer to work solo or with a gang - and what are some of your most memorable professional collaborations?

Simon> When composing for film, I consider how the music will interact with SFX and dialogue, as this can significantly influence the experience. While I prefer to collaborate closely with the sound designer and mixer etc, time and budget constraints don't always make it possible.

I've spent much of my career composing solo but in recent years I've more actively sought out collaborations with other writers and musicians. I've found that working with others helps break old habits and opens the door to unexpected directions. Collaboration is always a learning experience and can often lead to the discovery of new sounds.

LBB> What’s the most satisfying part of your job and why?

Simon> I enjoy creative problem-solving and challenging briefs that push me into unfamiliar territory, even when they make me question my capability. I find once I get into the process; asking questions, researching, brainstorming, generating ideas, collaborating, refining etc, I end up with a result I couldn’t have anticipated without the steps in-between.

Discovering a strong, unexpected solution brings a real sense of fulfilment, especially when I see the music come to life in a way that elevates the entire project.

LBB> Do you like to use live musicians when creating new music? What kinds of instruments do you tend to use? Do you take inspiration from any particular geographical regions? 

Simon> I often record live strings as I find the nuances and even the imperfections created by live performers are impossible to replicate using only software. There’s a richness and organic quality to live string recordings and musicians can bring their own interpretations or even improvise your writing. 

I have for a long time been drawn towards exotic music and culture and over the years have spent a lot of time travelling, particularly around Asia. For this latest album ‘Classic Exotica’ released with Score, we wanted it to have a transcultural vibe, so I sought out local musicians from different continents, inspired by their unique instruments, percussion and rhythms. I particularly enjoyed the winds, vocal and percussive elements they brought to the project and loved the tonal qualities we achieved with the recordings.

LBB> Who are your musical or audio heroes and why?

Simon> The list could be endless but Ennio Morricone’s emotional depth is unparalleled, his music has provided me with some of the most transcendental listening experiences. John Barry also comes to mind for his timeless melodies and the richness of his orchestral arrangements.

LBB> And when it comes to your particular field, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?

Simon> There are many, but in recent times I was really inspired by Ludwig Göransson’s score for ‘Black Panther’. His fusion of genres, especially the way he blended trap with traditional African rhythms and instruments, created a unique sound that felt both modern and deeply rooted in culture.

LBB> When you’re working on something that isn’t directly sound design or music (lets say going through client briefs or answering emails) - are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?

Simon> I often have music playing in the background while doing admin tasks, it helps me stay focused. However, when writing emails, I tend to avoid songs with lyrics as they can be distracting. 

LBB> I guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years. There’s the switch from analogue to digital and now we seem to be divided between bad-ass surround-sound immersive experiences and on-the-go, low-quality sound (often the audio is competing with a million other distractions) - how does that factor into how you approach your work?

Simon> I have to consider where the music is most likely to end up. For film, it’s going to be 5.1 so I think about how the placement and movement of the instruments and sounds will interact with the rest of the mix. 

For lower quality formats its good to consider how some details may be lost and instead focus on the strength of the idea through simplicity and emotional depth where appropriate.

LBB> Do you have a collection of music/sounds and what shape does it take?

Simon> These days I mostly make Spotify playlists for convenience. I also have a hard drive full of short compositional ideas and motifs I’ve written over the years, like a personal toolkit of ideas I can draw from whenever something fits the project I’m working on.

LBB> Outside of the music and sound world, what sort of art or topics really excite you and do you ever relate that back to music 

Simon> I’m a very visual person and a bit of a film nerd. I often think of music in relation to space and environment and vice versa. The depth of visual storytelling by great filmmakers like Stanley Kubrick has left a lasting imprint on me and continues to inspire my creative process and writing.

I’m fascinated by psychology, how it shapes my understanding of emotion and influences the way I incorporate feelings into my music. I'm intrigued by theories about dreams and the subconscious, the surreal works of the ‘The Brothers Quay’ have had a particularly strong influence on me. 

I’m also often inspired by travel and the opportunity to immerse myself in the cultural tapestries of the places I visit. While composing ‘Classic Exotica' I found myself envisaging everything from dusty open-air markets along the silk road to lost Mayan temples covered in vines etc, inspiring me to channel my impressions of these distant places into the music.

LBB> As we age, our ears change physically and our tastes evolve too, and life changes mean we don’t get to engage in our passions in the same intensity as in our youth - how has your relationship with sound and music changed over the years?

Simon> As a child, my relationship with music was shaped by long car journeys, absorbing whatever my parents played; mostly classical music, opera, and 60s rock. In my teens, my older sister, who had quite an eclectic taste, introduced me to everything from Radiohead to Chet Baker.

At university I got really into film scores which opened up a new world for me. As I’ve travelled more over the years my interest in world music has developed. Whist I can’t help but look at sound and music more technically these days and have outgrown some music, I can always find that emotional connection somewhere.