Composer · Immersive Sound Artist
Giles
Lamb
I'm a composer and immersive sound artist. My work moves between cinematic scoring, generative systems, and live audiovisual performance — transforming improvised sound and process-based composition into experiences that feel less like concerts and more like entering a living dream.
Current projects include Signal Dreams, a live immersive audiovisual work, and The Quiet Room, an ongoing writing practice on sound, attention, and creative process.
Practice
The medium shifts.The obsession doesn't.
The question has always been the same: how does sound shape what we see, feel, and understand?
The work moves between cinematic scoring, generative systems, and live audiovisual performance — improvised sound and process-based composition across albums, installation, film, and the stage. Each form a different angle on the same question. Narrative carried as much by texture and space as by picture.
Distance to the Moon. Dead Island. A dozen albums. Live audiovisual work with generative visuals. The obsession is the same. Only the form changes.
Trailers, features, TV series, animation, campaigns. Where the investigation has played out longest. The score as the hidden architecture of narrative.
Spatial sound, exhibition commissions, cultural institutions. Work designed for environments and bodies. Spatial composition where the room itself is the instrument.
Modular synthesis, generative visuals, live audiovisual performance. Sound as the DNA from which image emerges. The practice made visible in real time.
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.
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
Fable Legends
Announcement trailer for Lionhead's final Fable game, directed by Ben Hibon. Narrated by Michael Gambon. Premiered Gamescom 2013. The game was never released.
Lionhead / Microsoft
Composer
Book of Kells Experience
Immersive score and sound design for Trinity College Dublin's 360° Book of Kells film.
Cineworld
The theme that played before every Cineworld screening, in every cinema across the UK.
The 21
Animated short about the 21 Coptic martyrs of Libya. Score producer, sound designer and mix. Academy Award longlisted.
Live Practice
Sound as the DNA
from which
image emerges
Decades of work across records, film, and performance — now made visible in real time. Modular synthesis and generative visuals built in TouchDesigner. Performance as composition. Sound and image arriving together, neither leading. Debuting Berlin, 2025.
Get in Touch
Commission
serious
work
Available for commissions across immersive installation, live audiovisual performance, cinematic scoring, and generative sound work. Based between London and Berlin.
