A e    n e

Voice

  • Remote recording & performing, engineering vocals 

  • Interpreting themes with single or layered vocals

  • Vocal arrangements of themes

  • Fine-tuning and editing recorded vocals

  • Full vocal mix with panning, volume moves & FX (if needed)

  • Delivered in stems for easy placement into mix​

A R R A N G E

C O M P O S E

Creating cinematic vocals & music for film, television, movie trailers, video games & records.

Score - Film/Tv

Voice on the Score

BearMcCreary IStillSeeYou.jpg

Amazing composer BEAR McCREARY (Outlander, The Walking Dead, Godzilla) wanted to create a series of cues for his score to horror thriller "I STILL SEE YOU" incorporating otherworldly solo vocals.     To create an even more ghostly and haunting effect - his concept was for these vocals to be sung in an ancient language and so asked me not only to perform & record the vocals in a specific way but to also create a language that added to this ominous feeling when sung, as if weaving a spell.

"Watch Her Die" 

Watch Her Die (feat. Aeone)Aeone
00:00 / 03:58

Vocals: Performance, Editing & Recording

"WATCH HER DIE" -  is where Bear's beautiful yet chilling theme is first heard with a haunting melancholy voice - there is also a ominous hypnotic chant of layered vocals that sits below which adds to it all.  Here I built the cue bit by bit - then added answer vocals and layers on some of the melody line for greater effect.   The chant was done by layering each part 6 times to create a sound that was more mesmerising and siren-like.

"Dance Beneath the Ice" 

Dance Beneath the Ice (feat. Aeone).mAeone
00:00 / 04:49

Vocals: Performance, Editing & Recording

"DANCE BENEATH THE ICE" - is a resolving moment in the score (and movie) where Bear's gorgeous theme returns with powerful effect.  The hypnotic chant is expanded upon and haunting ethereal vocals rise above, here with added layers to create a sense of breakthrough.   Again built the cue in pieces - working on the main melody performance, here with more of an ache in the voice and then adding answers and layers to different parts of the performance.   

Composition 

&  Arrangement

Creating vocals for existing music

"Wicked"

The Celtic EmeraldAeone, Kully B, Gussy G
00:00 / 03:28

Vocals: Performance - Arrangement - Production - Editing - Recording -

Co-mixed 

Written by Aeone, Kully B & Gussy G

"THE CELTIC EMERALD" Composers KULLY B & GUSSY G came to be to collaborate on an 'Celtic Emerald" a really beautiful instrumental track they had.  This is a very cinematic piece that has an ancient Celtic feel.   First using the stems they sent, I was able re-edit the track entirely to create a different structure.  Then added vocal melodies for the verses with a tribal/call to prayer feel.  Then created a building melodic chorus that repeats throughout the piece into a powerful choral ending.   

All the vocals and vocal textures were created by layering & using different tones of voice.    I also added dulcimer and Uilleann pipes to the music.   It took a great deal of to-ing and fro-ing between LA and UK to mix the piece and find a place for all the vocals but, Kully B & Gussy G did amazing job we were all thrilled with how it turned out.

"Angels We Have Heard On High"

Angels We Have Heard on HighAeone, Stephen Melillo
00:00 / 05:10

Vocals: Performance - Arrangement - Production - Editing - Recording -

Co-mixed 

Music arranged by Stephen Melillo

'ANGELS WE HAVE HEARD ON HIGH" - Christmas Passion.  Composer Stephen Melillo was working on an album of alternative versions of Christmas carols.  He had instrumental arrangement and also wanted a vocal arrangement of the song.  His musical arrangement starts very quietly and builds into a vast cinematic orchestra of sound at the end.  The approach I used for this was to create an otherworldly sound and feeling with the vocals - very beautiful, uplifting and pure on the verses - then on the 'Gloria's the lead vocals and all the layers & harmonies were sung with the similar emotion - which were added to on each of the key changes at the end - to create a sense of majesty and inspiration.   

 I sent one stereo stem of the final vocal mix stem back to Stephen (with printed FX, panning and volume changes) which he laid into his final mix.

COLLABORATION

Let's start at the very beginning

"Mithrim Horizon"

Mithrim Horizon - Aeone, Danny McCarthyAeone, Danny McCarthy
00:00 / 02:57

Vocals: Performance - Production - Arrangement - Editing - Recording - Mixing

Written by Aeone & Danny McCarthy

"MITHRIM HORIZON" - BABYLON Z - Glory, Oath & Blood. I was invited to work on this project by the wonderful composer & producer Robert Bennett.  He was looking to create music that was otherworldly, perhaps from a new world, dark & strange & beautiful but, with a lot of dynamics.   I initially worked on front part of the cue by creating an atmospheric layered drone and then began with vocals - the idea was that they should sound like a high priestess calling her followers and building to a ceremonious call to prayer of many voices. 

Daniel McCarthy then created an amazing track, adding new parts and music and dynamics.  The end section ended up being entirely different - so I rewrote and re-recorded all the vocals in the second half to build into a massive vocal section with different layers and answers that had an almost tribal warrior-like feel.   

"Dreaming"

DreamingAeone, John Sponsler
00:00 / 02:32

Vocals:  Performance - Production - Arrangement - Editing - Recording 

Music written by Aeone & John Sponsler

"DREAMING" - Brand X.  For this project with composer John Sponsler (Brand X) - I initially wrote a track complete with music/sound design and some rough vocal ideas as a starting point.   I gave John the midi for my parts as well as the audio stems (and rough vocal stems) - he then resounded some things and then added additional parts and sections, adding additional rhythms and drums and some other vocal ideas.   He then gave the track back to me - I then rewrote/rerecorded all my vocals and then layered all the parts and created the harmonies - everything then was delivered back to him in stems with my panning imprinted.   John was then able to lay those stems into his session and create the final mix.​

Collaborate

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