Composer · Immersive Sound Artist
Giles
Lamb
Composer. Film and installation, live audiovisual, generative work. Three decades of commissioned scoring and own artistic practice. Cannes, BAFTA, RTS and Music+Sound awards. I spend as much time on process and improvisation as on the final mix.
Dream Screens is a new project in development. The Quiet Room is writing on sound and how I work.
Practice
The medium shifts.The obsession doesn't.
Same question every time: how does sound change what we see and feel?
Scores, installation, records, live sets. Same thread, different rooms. Texture and space often matter as much as the picture.
Distance to the Moon, Dead Island, albums, generative live work. The obsession stays; the format changes.
Trailers through to series and campaigns. Longest-running lane for me: score as structure under the picture.
Spatial sound and exhibition work. Built for rooms and bodies, not just speakers.
Modular, TouchDesigner, live in the room. Image and sound at once, neither pretending to lead.
Selected Work
Not a credits list.
each project explored
in depth
Process, context, decisions. The brief, the material, what the work became. A small number of projects, chosen because they represent something, not everything.
Distance to the Moon
Music and image built simultaneously. Neither serving the other.
The starting point was Calvino. Cosmicomics, stories where science becomes memory. In a stark future where Earth lies desolate, its sole remaining inhabitant undertakes a surreal ascent to the Moon.
Stop-motion animation inspired by Metropolis, Hitchcock, Calvino. Distance to the Moon began as musical sketches, a surrealist opera that never quite became one. Music and image built together from the start, each shaping the other.
Holy Hell
A cult leader's two decades captured on film. Sundance, CNN Films, Netflix.
Will Allen had recently left a cult he had been part of for more than 20 years and pieced together all the footage to make the film. The rough edit was poignant, almost dreamlike.
The first two thirds are joyous and euphoric. In the third act there is a sharp turn. I used live cello, piano, guitar and ambient pads. As the truth reveals itself the melancholy dominates and something sinister creeps in.
Dead Island
The score that changed everything.
A slow-motion, reverse-chronology ballet of a family being torn apart. They didn't want metal or horror stings. They wanted something beautiful and mournful that would make the violence land harder.
I started at the piano. Spare, melancholy, built more from space than notes. Juxtaposition as a compositional strategy. The trailer swept round the world press in days. Cannes Lions Gold.
Further Selected Work
Additional credits from 30 years of practice — across Film, TV, Animation & Kids’, Cinematics, Installation & Museum and Releases.
Siren Servers
VR installation presented at Sonica Glasgow. Composition and sound design for an environment where physical and virtual space shared the same footprint.
Sonica / ISO Design / Numbercult
COMPOSER · SOUND DESIGN
Valhalla Rising
Sound design and original composition for Nicolas Winding Refn's mythic Viking film. Recorded with an improvising ensemble over two days in Scotland.
Visit Scotland
Orchestral score for VisitScotland's first global campaign. Performed by the Royal Scottish National Orchestra. Featured on Good Morning America.
RSNO
Composer
Story Trails
Original score and sound design for a cycloramic immersive cinema touring 15 UK cities. Part of UNBOXED, executive produced by David Olusoga.
StoryFutures / ISO Design
Spatial Audio
Live Practice
Unstable Systems
Unstable Systems is Giles Lamb’s live performance practice: music made in one pass, in the moment, played at the point where a part-stable, part-unpredictable system is about to fall apart. Nothing is decided in advance and nothing is fixed afterward. It is the wrangle between human and machine, human expression encoded in the act of shaping what comes out. The opposite of generative polish: musicality and intention, played live in a room.
The first public preview, in June 2026, confirmed what the practice is for. The audience completes it. These are works that exist to connect in the moment, cinematic and strongly visual, built from modular synthesis, the Osmose, neural voice processing and felt piano.
The live recordings are released as they accumulate. Orbital Fifths, roughly forty minutes played in a single take, is the first.
Releases →Original Projects
Dream Screens
Dream Screens is a transmedia concept album, in development: music, image and narrative conceived together as a single work, designed to be inhabited rather than watched.
Where the live practice is improvised and made in the moment, Dream Screens is composed and authored, a fixed world you move through. It asks what an album can be when sound, story and image are built together from the start. Not a soundtrack to visuals, not visuals added to music. One thing.
Still in development.
Find out more at Dream ScreensCurious Dreamers
Curious Dreamers is a Glasgow-based music and screen studio making animated series, immersive films and sound installations. Music comes first in everything they make. Giles is Composer and Sound Designer at the studio, with credits including the RTS award-winning Hushabye Lullaby and the festival-acclaimed stop-motion film Distance to the Moon. Multiple projects currently in development. Presenting at Pictoplasma Berlin in May, Annecy in June and MIP Cannes in November 2026.
Visit Curious DreamersGet in Touch
Commission
serious
work
Music and sound design for moving image. Score, sound design, and final mix delivered from a resourced studio. Based in Glasgow, UK.
