Nick can bring the essential human element to a music score that helps create the all important connection between the story and the viewer / listener. From tender solo guitar pieces, to dense choral atmospheres, close mic’d micro-sound sources to deep space synthscapes or universal orchestral familiarity. Nick has the range to elevate what a score can do, ensuring the creation of something special.
Composite music selection from the full score of Libertion Is Not a Recognised Protocol.
Composition for advertising showreel.
A.J Moore & Nick Rundall are an acoustic guitar duo who defy easy categorisation. Blending exquisite dual guitar arrangements with original songwriting they draw inspiration from many genres as they attempt to expand the horizons of what an acoustic guitar duo can be.
Featuring the stunning angelic voice of A.J along with Nick’s contrasting low timbres, the stylistic variety of their songwriting has emerged from A.J’s story telling approach and Nick’s personal and reflective style. Many of their compositions feature deceptively complex musical ideas whilst never feeling forced or unnecessary. As Nick says “it’s like rain, if you focus on every drop it it is infinitely complex, but as a whole it forms a simple beauty”.
As lifelong guitarists and self confessed music fanatics, it was of paramount importance that the guitar arrangements displayed the necessary flare and inventiveness which are the duo’s hallmark. A.J as a classical & folk guitarist and Nick from a rock and jazz background, both bring forth differing compositional approaches, which when combined, create something quite unexpected and unique.
After originally meeting in 2004, the blueprint for the duo’s sound started with their arrangement of A.J’s song ‘Beautiful Eyes’. This collaboration seemed to stick as being the definitive version of the song, whilst epitomising many of the qualities the two musicians aspired to create. Time passed, and so did many other musical projects, yet the pair always came back to the idea of beautifully intricate and detailed guitar arrangements, with dynamics more associated with classical recordings than contemporary pop.
Over a two year period they wrote and arranged material and experimented with different recording techniques. As ever, the inner perfectionist emerged and often whole recordings would be scrapped if it was felt that improvements could be made. Over the course of making the record both players discovered that you can’t be precious when you are trying to realise your potential as a player or writer, and neither would deny having gained a certain acumen in the process. After a slow journey down the mother of all pipelines, ‘A.J Moore & Nick Rundall’ is here. We hope you enjoy it.
Day of the Dead by A.J Moore & Nick Rundall
Sutra by A.J Moore & Nick Rundall
As the home label for Nick’s dance music output, Blackout '77 takes its name from the night of 13th July 1977 in NYC when a city-wide power cut gave birth to DJ culture, as residents with ambitions of being behind the decks raided music equipment stores. The music on the label is informed as much by the spirit that 'liberated' the equipment on that historic night as the actual grooves and sounds of the time.
The disco of The Memory Notes is a clear homage to that period while the soulful grooves of Solar Flare echo another golden era of New York's musical history with its '90s style house rhythms. Grafted onto these strong roots are new sounds: the panoramic deep house of Unknown Unknowns, the electronic experimentation of Charolastras and the open minded hip hop of The Centillions.
With such a wide range of different artists in one camp, Blackout '77 is set to make waves on many shores. And there are plans for some mouth-watering collaborations among label-mates leading to ever greater diversity. What unique sound might emerge if Charolastras were to remix The Memory Notes or Solar Flare? Anything's possible in a blackout.
Nick has had a wide ranging career as a ‘noise boy’, working as a composer, producer, studio engineer, mastering and live sound engineer. He was Technical Manager of legendary London nightclub Ministry of Sound, home to one of the worlds greatest sound systems, and has also had a long association with Sadler’s Wells Theatre. He has worked with some of the biggest names in contemporary dance and engineered on multiple world tours. He has composed for many major advertising campaigns as The Noise Deli, and also runs his own independent record label, Blackout '77, that releases music across a range of electronic music genres.
Nick can be found working on anything from audio editing and restoration work, to album projects and full music scores.
